In the Western world, cities have arguably never been more anxious: practical anxieties about personal safety and metaphysical anxieties about the uncertain place of the city in culture are the small change of journalism and political debate. Cities have long been regarded as problems, in need of drastic solutions. In this context, the contemporary revival of city centres is remarkable. But in a culture that largely fears the urban, how can the contemporary city be imagined? How is it supposed to be used or inhabited? What does it mean? Taking England since WWII as its principal focus, this provocative and original book considers the Western city at a critical moment in its history.

The Culture Factory: Architecture and the Contemporary Art Museum explores the key battlegrounds in the design of the contemporary-art museum, describing the intersection of art, aesthetics and politics at the highest levels, and the commitment of states, cities and wealthy individuals to the display of art. Global in scope, the book examines key examples from Europe and the Americas to contemporary China. It describes museum building as the projection of political power, but also as a desire to acquire power. So it is a book about ambitious peripheries as much as the traditional centres: Dundee and Bilbao as well as New York and Paris. It is commonplace to assume that the contemporary-art museum has become ever more spectacular, and the place of art ever more subservient within it. This book argues that a tendency to spectacle coexists with another equally powerful tendency, to make art museums that celebrate the artistic process, typically attempting to recreate the feeling of the artist's studio. That tendency is strongly represented in the designs for the Centre Georges Pompidou, completed in 1977, and arguably in the many contemporary art museums which have adapted former industrial buildings. Richard J. Williams's stimulating text includes many historical examples to illustrate how we got to where we are now, from the Centre Pompidou in Paris, to the Guggenheim museums in New York and Bilbao, London's Tate Modern, Oscar Niemeyer's work in Brazil and beyond, and the 798 Art District in Beijing.

Fire is a major agent of disturbance in many biomes of the world but is a particularly important feature of tropical savannas. Up to 50% of the ext- sive tropical savanna landscapes of northern Australia are burnt each year. This includes prestigious conservation reserves such as World Heritage- listed Kakadu National Park, in the Top End of the Northern Territory. As in other savanna regions of the world, the responses of biota to different ?re regimes are poorly understood, such that ?re management represents one of the greatest challenges to conservation managers and researchers alike. This is the context within which a landscape-scale ?re experiment was established at Kapalga Research Station in Kakadu,which aimed to provide a sound scienti?c basis for conservation management in the region. The experiment was established by The Australian Commonwealth Scienti?c and Industrial Research Organization (CSIRO),but involved collaborators from a range of universities and government agencies, including the m- agers of Kakadu,the Australian Nature Conservation Agency (ANCA:now Parks Australia North). This book summarizes the ?ndings from the Kapalga ?re experiment and explores the implications for conservation management. We believe that Kapalga has provided important insights into the ?re ecology of tropical savannas and has broad relevance for the conservation management of ?- prone landscapes in general. This book should be of interest to researchers, graduate students, and land management agencies. vii viii Preface We are extremely grateful to all our collaborators,both inside and outside CSIRO, for their involvement in the Kapalga experiment.

The ten-year research program and the Kapalga fire experiment at CSIRO in Australia has provided a wealth of knowledge about savanna ecosystems and the critical but poorly understood role of fire. The frequent low intensity fires examined in this volume characterize fire in the tropics and are a dominant force in shaping the structure and function of tropical ecosystems. Contributors discuss fire in relation to rainfall, groundwater, and the mammals and plants in the ecology and management of ecosystems. Among the management issues addressed are: habitat management, endangered species, protection of people and property, erosion and nutrient depletion, integration of knowledge from indigenous people and western science, and atmospheric pollution from fire smoke. This book will be valuable to tropical and savanna ecologists, fire ecologists and fire managers throughout the world, whether they are interested in plants, animals, soils or in the landscape as a whole.

In the western world, cities have, arguably, never been more anxious: realistic anxieties about personal safety, and metaphorical anxieties about the uncertain place of the city in culture are the small change of journalism and political debate. Cities have long been regarded as problems, in need of drastic solutions. In this context, the contemporary revival of city centers is remarkable. But in a culture that largely fears the urban, how can the contemporary city be imagined? How is it supposed to be used or inhabited? What should it look like? What should be its purpose? Which existing forms of urban life might serve as models for a new city? Taking England since WW2 as its principal focus, this provocative and original book considers the western city at a critical moment in its history.
Historically among the most urbanized of countries, England is an extraordinary urban laboratory. The energy and thoroughness with which its cities have been transformed in the 1990s have lessons for urban development everywhere.
"The Anxious City "examines the problem of the contemporary city through a series of detailed case studies: Poundbury, Milton Keynes, Liverpool's Albert Dock redevelopment, Trafalgar Square, Canary Wharf, the Great Court of the British Museum, and central Manchester after the 1996 IRA bomb. It deals with some broader cultural phenomena too: the continuing attraction of picturesque aesthetics, and the lure of southern European urbanism (exemplified by the RIBA's canonization of Barcelona) and the complex, contradictory relationship between urbanism in England and the USA. The experience of these places, the book argues, shows a culture where the idea of the cityremains contested: the frantic redevelopment of city centers in the 1990s represented one vision of the city - the city of spectacular consumption, competing in some imaginary urban race with other world cities. But such development took place against continuing suburbanization and sprawl. In spite of allthe building works, the city was still being worked out
This book is a cultural history that will be essential reading for anyone interested in the recent history of urban life. It argues that the contemporary city is uniquely anxious, caught between nostalgia for the past, and uncertainty about the future. At a crucial moment in the history of the city, it cuts through the urbanistic propaganda spread by architects and politicians. This unique and challenging study will be of interest to students and practitioners alike.

What is the place of architecture in the history of art? Why has it been at times central to the discipline, and at other times seemingly so marginal? What is its place now? Many disciplines have a stake in the history of architecture - sociology, anthropology, human geography, to name a few. This book deals with perhaps the most influential tradition of all - art history - examining how the relation between the disciplines of art history and architectural history has waxed and waned over the last one hundred and fifty years. In this highly original study, Mark Crinson and Richard J. Williams point to a decline in the importance attributed to the role of architecture in art history over the last century - which has happened without crisis or self-reflection. The book explores the problem in relation to key art historical approaches, from formalism, to feminism, to the social history of art, and in key institutions from the Museum of Modern Art, to the journal October. Among the key thinkers explored are Banham, Baxandall, Giedion, Panofsky, Pevsner, Pollock, Riegl, Rowe, Steinberg, Wittkower and Woelfflin. The book will provoke debate on the historiography and present state of the discipline of art history, and it makes a powerful case for the reconsideration of architecture.

Throughout the centuries there have been many wonderful stories told. Stories of gods, heroes, monsters and the individuals who have changed their own fates, and the story that is about to be told is no different. This is the story of an average boy who will learn what it means to be a hero and how to change fate, not only his own but that of others as well. While the main character may seem like an unlikely hero, he has all of the qualities that many great heroes have had in the past. Within this young man beats the heart of a champion, but like many champions he will be tested. This young man's name is Michael Richardson and he is about to go on the journey of a lifetime.

Throughout the centuries there have been many wonderful stories told. Stories of gods, heroes, monsters and the individuals who have changed their own fates, and the story that is about to be told is no different. This is the story of an average boy who will learn what it means to be a hero and how to change fate, not only his own but that of others as well. While the main character may seem like an unlikely hero, he has all of the qualities that many great heroes have had in the past. Within this young man beats the heart of a champion, but like many champions he will be tested. This young man's name is Michael Richardson and he is about to go on the journey of a lifetime.

Throughout the centuries there have been many wonderful stories told. Stories of gods, heroes, monsters and the individuals who have changed their own fates, and the story that is about to be told is no different. This is the story of an average boy who will learn what it means to be a hero and how to change fate, not only his own but that of others as well. While the main character may seem like an unlikely hero, he has all of the qualities that many great heroes have had in the past. Within this young man beats the heart of a champion, but like many champions he will be tested. This young man's name is Michael Richardson and he is about to go on the journey of a lifetime.

Throughout the centuries there have been many wonderful stories told. Stories of gods, heroes, monsters and the individuals who have changed their own fates, and the story that is about to be told is no different. This is the story of an average boy who will learn what it means to be a hero and how to change fate, not only his own but that of others as well. While the main character may seem like an unlikely hero, he has all of the qualities that many great heroes have had in the past. Within this young man beats the heart of a champion, but like many champions he will be tested. This young man's name is Michael Richardson and he is about to go on the journey of a lifetime.

The Making of the Modern Law: Legal Treatises, 1800-1926 includes over 20,000 analytical, theoretical and practical works on American and British Law. It includes the writings of major legal theorists, including Sir Edward Coke, Sir William Blackstone, James Fitzjames Stephen, Frederic William Maitland, John Marshall, Joseph Story, Oliver Wendell Holmes, Jr. and Roscoe Pound, among others. Legal Treatises includes casebooks, local practice manuals, form books, works for lay readers, pamphlets, letters, speeches and other works of the most influential writers of their time. It is of great value to researchers of domestic and international law, government and politics, legal history, business and economics, criminology and much more.++++The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to insure edition identification: ++++Harvard Law School LibraryCTRG95-B1698Includes index.Philadelphia: T.& J.W. Johnson, 1903. xxiv, 313 p.: forms; 24 cm

The Making of the Modern Law: Legal Treatises, 1800-1926 includes over 20,000 analytical, theoretical and practical works on American and British Law. It includes the writings of major legal theorists, including Sir Edward Coke, Sir William Blackstone, James Fitzjames Stephen, Frederic William Maitland, John Marshall, Joseph Story, Oliver Wendell Holmes, Jr. and Roscoe Pound, among others. Legal Treatises includes casebooks, local practice manuals, form books, works for lay readers, pamphlets, letters, speeches and other works of the most influential writers of their time. It is of great value to researchers of domestic and international law, government and politics, legal history, business and economics, criminology and much more.++++The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to insure edition identification: ++++Harvard Law School Libraryocm22536793Includes legislation.Philadelphia: W.P. Kildare, 1884. 115 p.; 23 cm.

What is the place of architecture in the history of art? Why has it been at times central to the discipline, and at other times seemingly so marginal? What is its place now? Many disciplines have a stake in the history of architecture - sociology, anthropology, human geography, to name a few. This book deals with perhaps the most influential tradition of all - art history - examining how the relation between the disciplines of art history and architectural history has waxed and waned over the last one hundred and fifty years. In this highly original study, Mark Crinson and Richard J. Williams point to a decline in the importance attributed to the role of architecture in art history over the last century - which has happened without crisis or self-reflection. The book explores the problem in relation to key art historical approaches, from formalism, to feminism, to the social history of art, and in key institutions from the Museum of Modern Art, to the journal October. Among the key thinkers explored are Banham, Baxandall, Giedion, Panofsky, Pevsner, Pollock, Riegl, Rowe, Steinberg, Wittkower and Woelfflin. The book will provoke debate on the historiography and present state of the discipline of art history, and it makes a powerful case for the reconsideration of architecture.