Drawing on the vast archival resources of its Architecture and Design Collection, the UCSB Art, Design & Architecture Museum (University of California, Santa Barbara) presents an assessment of 50 years of design by Barton Myers (b. 1934), beginning with his work in the Toronto firm A.J. Diamond and Barton Myers (1967-1975) to his own offices in Toronto and Los Angeles, Barton Myers Associates (1975-present). Myers's strongest architectural ideas come out of the planning strategies of his early neighborhood activism in 1970s Toronto, his grounding in history, and his training in the classical traditions of site and space planning. Barton Myers is an avowed urbanist--a self-described radical in his early advocacy of old-fashioned qualities like density, mixed-use of new and re-purposed materials, and contextual planning in the late 1960s when that fundamentally conservative position was considered counter-culture. Myers' urban manifesto was codified in "Vacant Lottery," the title of the Design Quarterly issue co-edited by Myers and Canadian architect and educator George Baird in 1978 and which led to a renewal of interest in urban planning and offered a strategy for increasing population densities within cities while preserving the existing residential fabric. The term lived on long past the journal's circulation cycle as both an urban infill strategy and an acknowledgment of the ceding of city planning responsibility to the "lottery" of private developers. Myers's design practice has thus always been a social justice practice as well. Myers is also a brilliant designer of residential houses that take advantage of local landscape contexts and adaptive reuse of building materials, including steel and glass. Five essays - on urban planning, civic structures, reuse of historic buildings, single- and multi-family housing, and theaters - reinforce Myers's commitment to urbanism and reveal his flexibility with modes of modernism. Natalie Shivers introduces the early planning work in Toronto and traces the "vacant lottery" idea of neighborhood infill to the influential Grand Avenue project in Los Angeles. Howard Shubert examines the architectural and planning strategies, and political complexities, of several civic structures in Canada and the United States. Luis Hoyos explores Myers's additions and adaptations to historic buildings in diverse urban contexts. Lauren Bricker focuses on the use of steel and other industrial materials in Myers's houses and analyses the neighborhood-based designs of his multi-family housing. Charles Oakley describes the technical innovations, site planning, and historical underpinnings of Myers's theaters and performance complexes.
Winner of a 2013 Shingo Research and Professional Publication AwardThis practical guide for healthcare executives, managers, and frontline workers, provides the means to transform your enterprise into a High-Quality Patient Care Business Delivery System. Designed for continuous reference, its self-contained chapters are divided into three primary s
Originally published in 1964, this book tells the history of the British cinematograph industry for the first time. It describes moments of splendid triumph and others of shattering failure. The mood switches from reckless optimism to demoralising pessimism, from years in which British films won the highest international awards to those when they were dismissed with scorn. It recalls a score of productions still ranked among the world's best, and the stars whose reputation was established in them. Attention is focused on the directors, those who kept to the fore during two and three decades and those with only one major success to their name. Behind them the men are identified who strove, often to their considerable financial loss, to gain a worthy place for British films in the world’s markets.
A spirited group on a romantic adventure along the Appalachian mountains in 1884, travel on horseback from Abingdon, VA to the fashionable resort of Asheville, NC. Novelist Marian Coe and artist Paul Zipperlin have woven an imaginative odyssey based on the true account by Charles Dudley Warner of just such a trip published in the Atlantic Monthly of the time.
Oakley's individual stats weren't remarkable, and while he helped power the Knicks to ten consecutive playoffs, he never won a championship. So why does he hold such a special place in the minds, hearts, and memories of NBA players and fans? Because over the course of nineteen years in the league, Oakley was at the center of many unbelievable encounters-- and nearly as many fights as Mike Tyson. If any opposing player was crazy enough to start a fight with him, or God forbid one of his teammates, Oakley would end it. Here Oakley shares one incredible story after the next: about his life in the paint and beyond, fighting for rebounds and respect. -- adapted from jacket
Now fully updated, this popular guide to academic integrity explains to students how to prepare citations, avoid plagiarism, and achieve real academic success.
Originally published in 1984. The Sage in Harlem establishes H. L. Mencken as a catalyst for the blossoming of black literary culture in the 1920s and chronicles the intensely productive exchange of ideas between Mencken and two generations of black writers: the Old Guard who pioneered the Harlem Renaissance and the Young Wits who sought to reshape it a decade later. From his readings of unpublished letters and articles from black publications of the time, Charles Scruggs argues that black writers saw usefulness in Mencken's critique of American culture, his advocacy of literary realism, and his satire of America. They understood that realism could free them from the pernicious stereotypes that had hounded past efforts at honest portraiture, and that satire could be the means whereby the white man might be paid back in his own coin. Scruggs contends that the content of Mencken's observations, whether ludicrously narrow or dazzlingly astute, was of secondary importance to the Harlem intellectuals. It was the honesty, precision, and fearlessness of his expression that proved irresistible to a generation of artists desperate to be taken seriously. The writers of the Harlem Renaissance turned to Mencken as an uncompromising—and uncondescending—commentator whose criticisms were informed by deep interest in African American life but guided by the same standards he applied to all literature, whatever its source. The Sage in Harlem demonstrates how Mencken, through the example of his own work, his power as editor of the American Mercury, and his dedication to literary quality, was able to nurture the developing talents of black authors from James Weldon Johnson to Richard Wright.
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