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The devastation of World War II left the Yugoslavian capital of Belgrade in ruins. Communist Party leader Josip Broz Tito saw this as a golden opportunity to recreate the city through his own vision of socialism. In Designing Tito's Capital, Brigitte Le Normand analyzes the unprecedented planning process called for by the new leader, and the determination of planners to create an urban environment that would benefit all citizens. Led first by architect Nikola Dobrovic and later by Milos Somborski, planners blended the predominant school of European modernism and the socialist principles of efficient construction and space usage to produce a model for housing, green space, and working environments for the masses. A major influence was modernist Le Corbusier and his Athens Charter published in 1943, which called for the total reconstruction of European cities, transforming them into compact and verdant vertical cities unfettered by slumlords, private interests, and traffic congestion. As Yugoslavia transitioned toward self-management and market socialism, the functionalist district of New Belgrade and its modern living were lauded as the model city of socialist man. The glow of the utopian ideal would fade by the 1960s, when market socialism had raised expectations for living standards and the government was eager for inhabitants to finance their own housing. By 1972, a new master plan emerged under Aleksandar Dordevic, fashioned with the assistance of American experts. Espousing current theories about systems and rational process planning and using cutting edge computer technology, the new plan left behind the dream for a functionalist Belgrade and instead focused on managing growth trends. While the public resisted aspects of the new planning approach that seemed contrary to socialist values, it embraced the idea of a decentralized city connected by mass transit. Through extensive archival research and personal interviews with participants in the planning process, Le Normand's comprehensive study documents the evolution of 'New Belgrade' and its adoption and ultimate rejection of modernist principles, while also situating it within larger continental and global contexts of politics, economics, and urban planning.
This book relates the untold story of how Australia's first diplomatic mission was conceived, designed and built. Commenced in 1913, Australia House was opened in 1918 while the Great War still raged. Being London's first purpose-built Dominion embassy building, it defined London as an Imperial capital. It is a story of ambitions and achievements - global, imperial, local and personal.
This elegant volume, a guide to the Library of Congress's massive collection of architectural drawings, offers a celebration of the ambitious project of designing the nation's capital. Each of its "capital drawings" reflects some aspect of the lives, history, and values of the building's creators and sponsors. 55 color illustrations. 123 halftones.
"Capital markets have undergone a dramatic transformation in the past two decades. Algorithmic high-speed supercomputing has replaced traditional floor trading and human market makers, while centralized exchanges that once ensured fairness and transparency have fragmented into a dizzying array of competing exchanges and trading platforms. Darkness by Design exposes the unseen perils of market fragmentation and 'dark' markets, some of which are deliberately designed to enable the transfer of wealth from the weak to the powerful. Walter Mattli traces the fall of the traditional exchange model of the NYSE, the world's leading stock market in the twentieth century, showing how it has come to be supplanted by fragmented markets whose governance is frequently set up to allow unscrupulous operators to exploit conflicts of interest at the expense of an unsuspecting public. Market makers have few obligations, market surveillance is neglected or impossible, enforcement is ineffective, and new technologies are not necessarily used to improve oversight but to offer lucrative preferential market access to select clients in ways that are often hidden. Mattli argues that power politics is central in today's fragmented markets. He sheds critical light on how the redistribution of power and influence has created new winners and losers in capital markets and lays the groundwork for sensible reforms to combat shady trading schemes and reclaim these markets for the long-term benefit of everyone. Essential reading for anyone with money in the stock market, Darkness by Design challenges the conventional view of markets and reveals the troubling implications of unchecked market power for the health of the global economy and society as a whole"--
How can otherwise normal, moral persons - as citizens, voters, and jurors - participate in a process that is designed to take the life of another? In DEATH BY DESIGN, research psychologist Craig Haney argues that capital punishment, and particularly the sequence of events that lead to death sentencing itself, is maintained through a complex and elaborate social psychological system that distances and disengages us from the true nature of the task. Relying heavily on his own research and that of other social scientists, Haney suggests that these social psychological forces enable persons to engage in behavior from which many of them otherwise would refrain. However, by facilitating death sentencing in these ways, this inter-related set of social psychological forces also undermines the reliability and authenticity of the process, and compromises the fairness of its outcomes. Because these social psychological forces are systemic in nature - built into the very system of death sentencing itself - Haney concludes by suggesting a number of inter-locking reforms, derived directly from empirical research on capital punishment, that are needed to increase the fairness and reliability of the process. The historic and ongoing public debate over the death penalty takes place not only in courtrooms, but also in classrooms, offices, and living rooms. This timely book offers stimulating insights into capital punishment for professionals and students working in psychology, law, criminology, sociology, and cultural area studies. As capital punishment receives continued attention in the media, it is also a necessary and provocative guide that empowers all readers to come to their own conclusions about the death penalty.
Many books have covered the technological revolution that saw wooden hulls replaced by iron and steel, sail superseded by steam, and smooth-bore muzzle-loading gun giving way to rifled breech-loaders and entirely new weapons like torpedoes. But previous works have tended to concentrate on the technology itself, largely to the exclusion of external but crucial factors, like politics, finance, administrative problems, foreign threats and strategic situations. The years 1870-1885 have also been neglected because they were seen as the 'dark ages of the Admiralty', but this book argues strongly that, although the problems faced were greater than in previous decades, it is actually a pivotal period in the emergence of the modern warship. In so doing, it counters the general perception that that those responsible for British design policy at the time were retrogressive, incompetent, or both. What emerges is a more complete picture of the problems - often insoluble - faced by the Admiralty during the era, and the sensible steps it took to meet them.
Whose City is That? shows that Istanbul is produced not only by strong and systematic efforts, corporate influences and/or marketing activities, but also by individual contributions and coincidences. As such, the primary purpose of this book is to find the answer of to whom Istanbul does belong, presenting the reader with the richness of human experience and the practice of everyday life. The chapters in this book are therefore focused on the physical and economic dimensions, as well as the imaginary, fictional and hyper-real dimensions, expressing the concern of bringing the real and imaginary borders of the city together. The book provides an understanding that for each inhabitant there is another city, another Istanbul. Each person living in the city creates or lives in another city which is made of their own personal and particular experiences. In addition, the Istanbul the authors understand and describe turns into something different moment by moment, which cannot be defined or identified because of its very nature as a megacity. However, its flow is not aimless and non-directional, and each sign is not causeless or dateless. In this context, in order to make the possibilities of the city visible, the contributors to this volume ask: “Istanbul, whose city is it?” The title of the book enables different academics to ask the same question using different methodologies and subjects. The question “Whose City is That?” and the necessity of studying Istanbul using multidisciplinary perspectives brought many researchers from different fields together, because the city is larger than one approach and the constraints of one “unique” field. Gathering researchers and academics from various disciplines, such as communication studies, cultural studies, cinema/media studies, literature, the fine arts, city and regional planning, political science, social and economic geography, anthropology, and architecture enables each to think about the city alone and together, so as to create new forms of thought and discourse about Istanbul.