Falling Monuments, Reluctant Ruins: The Persistence of the Past in the Architecture of Apartheid interrogates how, in the era of decolonisation, post-apartheid South Africa reckons with its past in order to shape its future. Architects, historians, artists, social anthropologists and urban planners seek answers in this book to complex and unsettling questions around heritage, ruins and remembrance.

What do we do with hollow memorials and political architectural remnants? Which should remain, which forgotten, and which dismantled? Are these vacant buildings, cemeteries, statues, and derelict grounds able to serve as inspiration in the fight against enduring racism and social neglect? Should they become exemplary as spaces for restitution and justice? The contributors examine the influence of public memory, planning and activism on such anguished places of oppression, resistance and defiance. Their focus on visible markers in the landscape to interrogate our past will make readers reconsider these spaces, looking at their landscape and history anew.

Through a series of 14 empirically grounded chapters and 48 images, the contributors seek to understand how architecture contests or subverts these persistent conditions in order to promote social justice, land reclamation and urban rehabilitation. The decades following the dismantling of apartheid are surveyed in light of contemporary heritage projects, where building ruins and abandoned spaces are challenged and renegotiated across the country to become sites of protest, inspiration and anger.

This ground-breaking collection is an important resource for professionals, academics and activists working in South Africa today.

Johannesburg: Egoli to some, Jozi to others. Once a mining town, now the most important commercial city in Africa. It’s been home to renegades and rogues, colonialists and capitalists, the dispossessed and the newly enriched. Today it’s populated by those who call themselves Africans or Afrikaners, by blacks, whites and every shade inbetween, and by immigrants from all over.

There are suburbs where the daily rituals of Jewish culture rival New York’s; elsewhere, the tone is more Lagos than laid-back. Remnants of the colonial era stand alongside contemporary steel and glass. In a town that prides itself on the pursuit of fortune, it’s a challenge to preserve heritage, and it is against this background that Hidden Johannesburg offers a snapshot of 28 notable buildings. From the stately mansions of the Randlords to their downtown headquarters, the clubs where they socialised and the churches where they worshipped, the architecture of early Johannesburg lives on in sandstone, granite, marble and slate. But this is a city that constantly reinvents itself, and where the old is all-too-readily demolished to make way for the next ‘big thing’. Some buildings will survive, others will be consigned to memory.

Hidden Johannesburg reveals fragments of the history of this vibrant city but, perhaps, the book also tells us something about our future, for if we allow our heritage to be swept away in the name of progress, are we advancing at all?

Now revised, this book takes a unique look ‘inside’ 29 of Cape Town’s most notable buildings. If you have ever wondered what lies behind an interesting facade, or wished you could peek behind a closed door, Hidden Cape Town is the book for you. The author and photographer have collaborated to reveal the artworks and architectural secrets that lie behind the doors of some wellknown, and lesser known, landmark buildings in and around the ‘Mother City’. These buildings are part of our collective heritage, reflecting the myriad cultural influences that have shaped our country. These ‘hidden’ interiors include the Sendinggestig Museum, South African National Library, City Hall, Palm Tree Mosque, Welgelegen, the Royal Observatory, Bertram House, the Greek Orthodox Cathedral of St George, Groote Schuur, the Old Synagogue and the officer’s mess of the Cape Town Rifles (‘The Dukes’).

Homecoming, haunting, nostalgia, desire: these are some of the themes evoked by the beguiling motif of the lighted window in literature and art. In this innovative combination of place-writing, memoir and cultural study, Peter Davidson takes us on atmospheric walks through nocturnal cities in Britain, Europe and North America, and revisits the field paths of rural England. Surveying a wide range of material, the book extends, chronologically, from early romantic painting to contemporary fiction, and geographically, from the Low Countries to Japan. It features familiar lighted windows in English literature (in the works of poets such as Thomas Hardy and Matthew Arnold and in the novels of Virginia Woolf, Arthur Conan Doyle and Kenneth Grahame) and examines the painted nocturnes of James Whistler, John Atkinson Grimshaw and the ruralist Samuel Palmer. It also considers Japanese prints of the nineteenth and twentieth centuries; German romanticism in painting, poetry and music; Proust and the painters of the French belle epoque; Rene Magritte's 'L'Empire des Lumieres'; and North American painters such as Edward Hopper and Linden Frederick. By interpreting the interactions of art, literature and geography around this evocative motif, Peter Davidson shows how it has inspired an extraordinary variety of moods and ideas, from the romantic period to the present day.

Eric Ambler's novelistic career falls into two halves. In the first half belong the works he published between 1935-1940. These include the highly acclaimed "Epitaph for a Spy" (1938) and "The Mask of Dimitrios" (1939), both of which were made into successful films in 1944. The intrigue books of this period unfold in interwar Europe, a bitten-up, anxious place reeling between the extremes of fascism and Soviet communism. To reflect changes in the postwar world, Ambler set his later books in third-world countries where first-world financing collides with unstable, often revolutionary, politics--all within the shadow of large multinational corporations. These powerful firms with connections in high places take the same liberties as big governments have always done in works like "Dr. Frigo" (1974), the only Ambler book set in Latin America, and the best-selling "The Care of Time "(1981).

Featuring 150 iconic artworks, The National Gallery Masters of Art Puzzle Book is a visually spectacular puzzle challenge perfect for any art-enthusiast. This must-buy gift book contains 100 puzzles reproducing and inspired by the world's most famous paintings, making it a truly one-of-a-kind decorative delight. From pictorial puzzles such as Fake or Fortune, Jigsaw and Scrambled Image, to cryptic puzzles like Odd One Out or The Missing Link, through logic puzzles, riddles and even a series of progressively more difficult art knowledge quizzes, there is something for everyone, from the puzzle master to the art aficionado. Featured paintings include Sunflowers by Vincent van Gogh, The Fighting Temeraire by J.M.W. Turner, The Arnolfini Portrait by Jan van Eyck, The Hay Wain by John Constable, The Virgin of the Rocks by Leonardo da Vinci, Bathers at La Grenouillere by Claude Monet and many, many more.

A collection of fascinating quotations from the legendary artist and graffiti pioneer Futura is a living legend-a world-renowned painter, designer, and photographer who was a pioneer of graffiti art and New York City's "subway school." His radical abstract work in the street and on canvas established him as a central figure in an important art movement that included Jean-Michel Basquiat, Keith Haring, Rammellzee, Lee Quinones, and Dondi White. Futura-isms is a collection of essential quotations from this fascinating artist. Gathered from four decades of interviews and panel discussions, this memorable selection illuminates Futura's thoughts on legal and illegal art, his influences, fellow artists, and the past, present, and future. He also offers colorful memories of his adventurous life-growing up in New York City, serving in the Navy, touring with The Clash-and reflects on how his experiences have shaped his art. Select quotations from the book: "Graffiti was a way for me to exist. I wanted the world to know my name. I wanted to be somebody." "The essence of what graffiti is . . . is creating this identity and taking it to the public." "My whole life, I think, I've been a nomad." "I was always at home in the subway system." "People say, 'Let's play within the rules.' I say, 'No-let's break the rules a little bit.'"

Two Twelfth-Century Texts on Chinese Painting presents two texts in translation that provide dual insight into the Painting Academy of Emperor Hui-tsung and the literati school of painting. The Shan-shui ch'un-ch'uan chi is a treatise for beginning landscape painters dated to the Hsuan-ho era. The treatise was written by Han Cho, a reputed member of the Academy, but the text was not specifically directed at Academicians. The treatise collects and orders previous writings on landscape painting; one of Han Cho's main goals is to list all landscape definitions and their practical application in painting. Yet his view is more detached and analytical than a stereotypical Academy painter, revealing an approach reminiscent of Confucian scholarship and literati painting as well. The Hua-chi by Teng Ch'un is a history of painting that was written as a sequel to two earlier painting histories. In ten chapters, Teng Ch'un compiles facts and critical evaluations of painters from 1075 to 1167, as well as listings of selected masterpieces. Teng Ch'un provides more specific information about the Academy than Han Cho, discussing its organization and examination system, and noting that "form-likeness" and adherence to rules were leading standards for painting in the Academy. On the other hand, he thinks that painting should transmit "soul," not just "form." Thus, Teng Ch'un writes the history of both the establishment values of the Academy and the intellectual tendencies of the literati.

John Berger, one of the world's most celebrated storytellers and writers on art, tells a personal history of art from the prehistoric paintings of the Chauvet caves to 21st century conceptual artists. Berger presents entirely new ways of thinking about artists both canonized and obscure, from Rembrandt to Henry Moore, Jackson Pollock to Picasso. Throughout, Berger maintains the essential connection between politics, art and the wider study of culture. The result is an illuminating walk through many centuries of visual culture, from one of the contemporary world's most incisive critical voices.

What should our buildings look like? Or is their usability more important than their appearance? Paul Guyer argues that the fundamental goals of architecture first identified by the Roman architect Marcus Pollio Vitruvius - good construction, functionality, and aesthetic appeal - have remained valid despite constant changes in human activities, building materials and technologies, as well as in artistic styles and cultures. Guyer discusses philosophers and architects throughout history, including Alberti, Kant, Ruskin, Wright, and Loos, and surveys the ways in which their ideas are brought to life in buildings across the world. He also considers the works and words of contemporary architects including Annabelle Selldorf, Herzog and de Meuron, and Steven Holl, and shows that - despite changing times and fashions - good architecture continues to be something worth striving for. This new series offers short and personal perspectives by expert thinkers on topics that we all encounter in our everyday lives.

Death and bomb threats over an art exhibition! A major battle with the mayor of New York City and the New York Times! Looking back, Arnold Lehman, director of the Brooklyn Museum, and his colleagues were not prepared for what was to happen. No one could have anticipated that SENSATION: Young British Artists from the Saatchi Collection would become the biggest art story in the history of art history. It has taken him two decades to fully absorb and clearly reflect on what happened at the Brooklyn Museum in 1999-2000. The intense controversy swept the exhibition, the museum, and Chris Ofili's The Holy Virgin Mary painting to international attention for six months. While 175,000 people saw the exhibition and millions read and heard about it daily, they never knew of the threats and challenges that kept the museum staff awake at night. Mayor Rudy Giuliani, who never saw the painting, focused his rage at The Holy Virgin Mary; rescinded the museum's municipal funding to force it to close the exhibition; and attempted to evict it from its hundred-year-old landmark. The city's most conservative media and ultra-religious groups inflamed the conflict. SENSATION, selected from controversial collector Charles Saatchi's contemporary British art collection, was first shown at London's Royal Academy in 1997, to an outcry over the portrait of child murderer Myra Hindley. Its opening at the Brooklyn Museum in 1999 drew tabloid headlines such as B'klyn gallery of horror Gruesome museum show, and Butchered animals, a dung-smeared Mary and giant genitalia; The New York Times accused the museum of wrongdoing in high-profile but often false and inaccurate investigative reports, most dismissed earlier by the court. In a story as gripping as a fictional thriller, the mayor and city eventually settled with the museum, awarding it a permanent injunction, the restoration of city money, and substantial funds for its new entrance. AUTHOR: Arnold Lehman is Director Emeritus of the Brooklyn Museum and Senior Advisor at Phillips auction house.

Terence Conran, a visionary and a myopic. A design entrepreneur and imaginative restaurateur, he was a democratising idealist who was also a selfish hedonist. His influence is everywhere in modern Britain from where we live to what we eat. Terence: The Man Who Invented Design is the most definitive, intimate and revelatory biography of this design legend, by two of his closest collaborators, Roger Mavity and Stephen Bayley. Frank, amusing, indiscreet, sharp, rude, respectful and knowing, it tells Terence's story as it evolved, from before Habitat's humble chicken brick to Bibendum's sophisticated poulet de Bresse, via personal successes and corporate calamities, culminating in that peculiar temple to the religion he invented: The Design Museum. It celebrates Terence's genius and immeasurable impact on British life - and ensures his rightful status as national treasure. Terence: The Man Who Invented Design is the most candid, up-close insight into the man and myth.

'A riveting tale, brilliantly told' Philippe Sands The little-known story of Hitler's war on modern art and the mentally ill. In the first years of the Weimar Republic, the German psychiatrist Hans Prinzhorn gathered a remarkable collection of works by schizophrenic patients that would astonish and delight the world. The Prinzhorn collection, as it was called, inspired a new generation of artists, including Paul Klee, Max Ernst and Salvador Dali. What the doctor could not have known, however, was that these works would later be used to prepare the ground for mass-murder. Soon after his rise to power, Hitler-a failed artist of the old school-declared war on modern art. The Nazis staged giant 'Degenerate Art' shows to ridicule the avant-garde, and seized and destroyed the cream of Germany's modern art collections. This action was mere preparation, however, for the even more sinister campaign Hitler would later wage against so-called "degenerate" people, and Prinzhorn's artists were caught up in both. Bringing together inspirational art history, genius and madness, and the wanton cruelty of the fanatical "artist-Fuhrer", this astonishing story lays bare the culture war that paved the way for Hitler's first extermination programme, the psychiatric Holocaust.

In the history of the United States, the Gilded Age, a term first coined by Mark Twain, is associated with an era of unparalleled growth, prosperity and cultural change - mansions in Newport; F. Scott Fitzgerald's The Great Gatsby; and the creation of the modern metropolis that we now recognise as New York City. Spanning from the 1880s to the 1930s, this period is also fittingly referred to as the American Renaissance. ...And just like in the Italian Renaissance, an elite group ruled New York. These were the titans of American finance and industry whose unprecedented, and unchecked, power and wealth was supreme in the land - Astor, Carnegie, Morgan, Rockefeller, and Vanderbilt. To this wealthy elite, it was not enough that the city merely be the nation's financial capital. Their collective dream was to create a new city, a new metropolis that would also become the nation's cultural capital. Simply put, their dream was to create a new "Paris on the Hudson" - and to do that they needed architecture rich in grandeur, full of historical reference, and dripping in embellishment, to flaunt their wealth and power to the world. Enter the Beaux-Arts style.

Follies in America examines historicized garden buildings, known as "follies," from the nation's founding through the American centennial celebration in 1876. In a period of increasing nationalism, follies-such as temples, summerhouses, towers, and ruins-brought a range of European architectural styles to the United States. By imprinting the land with symbols of European culture, landscape gardeners brought their idea of civilization to the American wilderness. Kerry Dean Carso's interdisciplinary approach in Follies in America examines both buildings and their counterparts in literature and art, demonstrating that follies provide a window into major themes in nineteenth-century American culture, including tensions between Jeffersonian agrarianism and urban life, the ascendancy of middle-class tourism, and gentility and social class aspirations.

'Geeks triumph over the forces of darkness: nothing could have given me greater pleasure. Combining an exciting story with scrupulous research, Caroline Shenton has done her unlikely heroes proud' - Lucy Worsley As Hitler prepared to invade Poland during the sweltering summer of 1939, men and women from across London's museums, galleries and archives formulated ingenious plans to send the nation's highest prized objects to safety. Using stately homes, tube tunnels, slate mines, castles, prisons, stone quarries and even their own homes, a dedicated bunch of unlikely misfits packed up the nation's greatest treasures and, in a race against time, dispatched them throughout the country on a series of top-secret wartime adventures. National Treasures highlights a moment from our history when an unlikely coalition of mild-mannered civil servants, social oddballs and metropolitan aesthetes became the front line in the heritage war against Hitler. Caroline Shenton shares the interwoven lives of ordinary people who kept calm and carried on in the most extraordinary of circumstances in their efforts to save the Nation's historic identity.

A beautifully illustrated exploration of Edward Lear's little-known career as a natural-history artist-now in a new expanded paperback edition Edward Lear (1812-1888) is best known today for his witty limericks and endearing nonsense verse. But the celebrated author of "The Owl and the Pussy-Cat" also created some of the most stunning paintings of birds and mammals during an age when many species were just being discovered and brought to private menageries and zoos throughout Europe. The Natural History of Edward Lear brings together more than 200 of Lear's strikingly beautiful illustrations of animals, plants, and landscapes. Robert McCracken Peck sheds light on Lear's astounding creativity, productivity, and success as an artist. He discusses Lear's humor, extensive travels, and important place in the history of science, and shows how Lear influenced other artists from Beatrix Potter and Maurice Sendak to James Prosek and Walton Ford. With a foreword by David Attenborough, a new chapter discussing Lear's interest in pets, and never-before-published illustrations by Lear, this new edition offers invaluable perspectives on a beloved writer who was also one of the greatest natural-history artists of all time.

The author started writing as a child. By seven wanted to be an architect. By twenty-four had become a builder. By thirty-four had become an architect registered and working in the UK. At the age of fifty he decided that architecture as a discipline was a social science of some sort. On this basis he earned a masters at UCL, then a PHD at Heriot Watt for discovering and defending philosophical position based on interpretation that he now calls thermenutics. When teaching about cultural contexts at the university of Ulster architectural school (2001 a " 2010) the link between perception and emotion became central to his interest. At which point he retired to write about understanding, in a series of books, this one being the fourth. The first three were about sharing the management of understanding. This fourth is about the way we share the management of understanding by way of conversations between us that allow us to understand each other.