High stakes drama starring Sam Riley, Jason Statham, Mickey Rourke and Ray Winstone. The family of Vince Ferro (Riley) are in grave need of money to pay medical bills. When Vince hears of the death of a man who was due to start a well paid job, he steals a letter addressed to the man and heads to New York to try and assume his identity. The ploy works and Vince is taken to the place of his employment but the 'job' is unusual to say the least. Vince finds himself forced to participate in a game of Russian roulette where the winner takes home a fortune and the losers go home in a body bag. Wealthy men, such as Jasper (Statham) - who has entered his less fortunate brother, Ronald (Winstone), into the event - bet on the outcome. Can Vince find a way to survive the horrifying game?

It is in the wilderness of cities rather than in nature that the imagination of these landscape drawings comes to life. Without any heroic emphasis, these drawings result from the observation of traces, evident or discreet, in the urban landscape, and the process to collect and memorise traces is the way to consider memory as a primary medium for creativity. The selected collection of over 150 drawings, thought and imagined over many years, delineates a personal city experience, without any intention of building a new city theory. No single drawing in this book is a representation of cities in-situ; all of them are interpretations, translations, and combinations of traces collected and selected while teaching, working, meeting cultures, and eating food in many different cities around the world. These drawings are a different form of communication than the beautiful renderings produced in endless numbers.

Observation and representation is a foundational subject in Landscape Architecture. Landscape design is a process shaped by the connections and interactions among designers, users, and the real world. This issue aims to explore the ways that help landscape architects: 1) see the scientism of design disciplines and explore the methodological principles of design generation; 2) translate and convey design ideas and emotional inspiration to the users with rich design vocabulary (in size, shape, material, proportion, composition, etc.) through multiple perceptual approaches; 3) read sites from economic, ecological, cultural, and other perspectives to present more convincing and appealing landscape narratives with the aid of emerging technological means; 4) understand various needs of all parties and stakeholders, coordinating interests and benefits and improving the utilisation of public resources through landscape design; and 5) create educational places for improving the public's rational and aesthetic norms.