Steven Nesbit directs this thriller starring Steven Berkoff and Bernard Hill. When two young lovers realise that they belong to rival gangs, they quickly discover that their love must be hidden from their gang leaders Vic Clarke and John Claridge (Berkoff and Hill) for fear of causing an inter-gang war. The cast also includes Mason Adams, Freema Agyeman and Judith Alexander.

This collection introduces, illustrates, and advances fresh ideas about creative practice inquiry in architecture. It concerns architectural knowledge: how architects can use their distinctive skills, habits, and values to advance professional insight, and how such insights can be extended to make wider contributions to society, culture, and scholarship. It shows how architectural ways of knowing and working can be mobilised as tools for research. Collected here are a series of creative practices that emerge out of architecture and actively engage with other fields and methods reaching across the academic landscape. Architectural inquiries collected in this book probe matters that lie beyond the obvious expectations, the conventions, the default, of the discipline. Drawing, borrowing, adapting, dramatising, perhapsing, monstering, experimenting, cartooning-the tools and methods of each inquiry vary but they all share a common outward gaze, engaging architectural ways of knowing with other disciplines and practices including the arts, biological sciences, ethnography, and technology. Chapters gathered here offer insight not only into incipient modes and tools of architectural research, but emerging ethical, practical, and philosophical positions intimately tied to the creative practices involved. Setting-out the idea of creative practice inquiry in architecture, this innovative volume offers a lively and resourceful contribution to a growing body of work on design as research. It will be of interest to: students keen to pursue architectural ways of thinking and writing; practitioners who want to use their distinctive professional abilities to contribute to architectural and scholarly knowledge; and academics and doctoral candidates keen to engage with the burgeoning scholarly field of design research.

This collection introduces, illustrates, and advances fresh ideas about creative practice inquiry in architecture. It concerns architectural knowledge: how architects can use their distinctive skills, habits, and values to advance professional insight, and how such insights can be extended to make wider contributions to society, culture, and scholarship. It shows how architectural ways of knowing and working can be mobilised as tools for research. Collected here are a series of creative practices that emerge out of architecture and actively engage with other fields and methods reaching across the academic landscape. Architectural inquiries collected in this book probe matters that lie beyond the obvious expectations, the conventions, the default, of the discipline. Drawing, borrowing, adapting, dramatising, perhapsing, monstering, experimenting, cartooning-the tools and methods of each inquiry vary but they all share a common outward gaze, engaging architectural ways of knowing with other disciplines and practices including the arts, biological sciences, ethnography, and technology. Chapters gathered here offer insight not only into incipient modes and tools of architectural research, but emerging ethical, practical, and philosophical positions intimately tied to the creative practices involved. Setting-out the idea of creative practice inquiry in architecture, this innovative volume offers a lively and resourceful contribution to a growing body of work on design as research. It will be of interest to: students keen to pursue architectural ways of thinking and writing; practitioners who want to use their distinctive professional abilities to contribute to architectural and scholarly knowledge; and academics and doctoral candidates keen to engage with the burgeoning scholarly field of design research.

Packed with never-before-seen photos, plans and meticulous new digital artwork, this is the first history of the USAAF's futuristic World War II prototype interceptor, the XP-67 "Moonbat". The series of X-planes that sprang from the US Army's Request for Data R40C, focused on high-altitude, high-speed, long-range bomber interceptors. Among these aircraft was the McDonnell Aircraft Company's first ever clean sheet design, the XP67. Its futuristic lines promised performance that it was ultimately unable to deliver, but development was still underway when disaster struck. Just before Army performance demonstration flights were scheduled to begin, an engine fire destroyed the only XP-67 prototype, leaving a host of unanswered questions about what might have been, and leading to decades of continuing fascination with the XP-67 among aviation buffs and aircraft modelers. The authors of this book have uncovered new sources of information and a wealth of photographs and line drawings that document not just the XP-67 but also its immediate precursors within the McDonnell Aircraft design community, as well as alternative configurations for unbuilt variants aimed at different missions. Packed with unpublished photos of all stages of construction including key airframe changes made after initial flight tests, showing in detail how the final configuration was evolved, this volume finally provides clear focus on a story that has long been shrouded in mystery.

In the first FX movie, special effects expert Rollie Taylor (Bryan Brown) is hired to fake a gangster's murder, but it soon becomes clear that someone wants Rollie dead. He has to use all his special effects skills to stay alive. The sequel has the special effects man called out of retirement to take part in a police investigation.

Special effects expert Rollie Tyler (Bryan Brown) is widely acknowledged as the best in the business. Hired by the Justice Department to fake the death of Mafia boss-turned-informant Nicholas DeFranco, Rollie pulls the job off without a hitch. However, when the Mafioso kingpin goes missing for real, it is the SFX man who is collared for his murder. On the run from both the police and the mob, Rollie now has to rely on his skills of deception in order to survive.