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I Am The Architect of My Own Destruction is a collection of greeting card/Tumblr quality poetry about stars, dark personal feelings, survival, suffering, flowers, healing, existential thoughts, mental illness, melancholic love, and self-love.
Depression. It's a battle. One that too many people sadly cannot conquer, or even know how to begin to tackle. Recent studies in Australia show that a person takes their own life every three hours. Men in particular are still stigmatised when it comes to looking after their mental and emotional wellbeing, and this contributes to the fact that there are so many men who not only find themselves in a depressive state, but get stuck there; sometimes for the rest of their lives, or worse still, reaching the point of ending their own lives. Something needs to change, and stories like Rick's are exactly what are needed. Rick Williams would be considered by many to be your average, Aussie male, and there's no doubt that his story will sound awfully familiar to most young males living in today's society. As you read his brutally honest words, share in his pain, confusion and challenges, you will soon realise just how inspiring it is to find out how he has been able to overcome it. I am the Architect of my own Destruction is the powerful, real life story of this incredible young man's journey from the absolute depths of depression, to living a full and purposeful life.
'Imperfect Health' looks at the complexity of today's health problems juxtaposed with a variety of proposed architectural and urban solutions. Essays by Margaret Campbell, David Gissen, Carla C. Keirns, and Sarah Schrank deal with different aspects of the topic of health in the context of architecture.
For fans of Alice Munro and Lorrie Moore. A young girl, renamed Amerika in honour of the US role in the liberation of Kuwait, finds her name has become a barometer of her country's growing hostility towards the West. A middle-aged man dying from cancer looks back on his extramarital affairs and the abiding forgiveness of his wife. The headlines tell of war, unrest and religious clashes. But if you look beyond them you will see life in the Middle East as it is really lived – adolescent love, the fragility of marriage, pain of the most quotidian kind. Mai Al-Nakib's luminous stories unveil the lives of ordinary people – and the power of objects to hold extraordinary memories.
In Making Dystopia, distinguished architectural historian James Stevens Curl tells the story of the advent of architectural Modernism in the aftermath of the First World War, its protagonists, and its astonishing, almost global acceptance after 1945. He argues forcefully that the triumph of architectural Modernism in the second half of the twentieth century led to massive destruction, the creation of alien urban landscapes, and a huge waste of resources. Moreover, the coming of Modernism was not an inevitable, seamless evolution, as many have insisted, but a massive, unparalled disruption that demanded a clean slate and the elimination of all ornament, decoration, and choice. Tracing the effects of the Modernist revolution in architecture to the present, Stevens Curl argues that, with each passing year, so-called 'iconic' architecture by supposed 'star' architects has become more and more bizarre, unsettling, and expensive, ignoring established contexts and proving to be stratospherically remote from the aspirations and needs of humanity. In the elite world of contemporary architecture, form increasingly follows finance, and in a society in which the 'haves' have more and more, and the 'have-nots' are ever more marginalized, he warns that contemporary architecture continues to stack up huge potential problems for the future, as housing costs spiral out of control, resources are squandered on architectural bling, and society fractures. This courageous, passionate, deeply researched, and profoundly argued book should be read by everyone concerned with what is around us. Its combative critique of the entire Modernist architectural project and its apologists will be highly controversial to many. But it contains salutary warnings that we ignore at our peril. And it asks awkward questions to which answers are long overdue.
The city of Homs, like so many places in Syria, has suffered mass destruction since the war began in 2011. So far, the architectural response to the crisis has focused on 'cultural heritage', ancient architecture, and the external displacement of refugees, often neglecting the everyday lives of Syrians and the buildings that make up their homes and communities. In Domicide, Ammar Azzouz uses the notion of the 'home' to address the destruction in cities like Homs, the displacement of Syrian people both externally and internally, and to explore how cities can be rebuilt without causing further damage to the communities that live there. Drawing on interviews with those working in the built environment professions, both inside and outside of Syria, but also Syrians from other backgrounds who have become 'architects' in their own way as they were forced to repair and rebuild their homes by themselves, Domicide offers fresh insight into the role of the architect during time of war, and explores how the future reconstruction of cities should mirror the wants and needs, the traditions and ways of living, of local communities. Focusing on Homs but offering a blueprint for other urban areas of conflict across Syria and the wider world, the book is essential reading for researchers in architecture, urban planning, heritage studies and conflict studies.
The phrase, ""the Culture of Death"", is bandied about as a catch-all term that covers abortion, euthanasia and other attacks on the sanctity of life. In Architects of the Culture of Death, authors Donald DeMarco and Benjamin Wiker expose the Culture of Death as an intentional and malevolent ideology promoted by influential thinkers who specifically attack Christian morality's core belief in the sanctity of human life and the existence of man's immortal soul. In scholarly, yet reader-friendly prose, DeMarco and Wiker examine the roots of the Culture of Death by introducing 23 of its architects, including Ayn Rand, Charles Darwin, Karl Marx, Jean-Paul Sartre, Alfred Kinsey, Margaret Sanger, Jack Kevorkian, and Peter Singer. Still, this is not a book without hope. If the Culture of Death rests on a fragmented view of the person and an eclipse of God, the future of the Culture of Life relies on an understanding and restoration of the human being as a person, and the rediscovery of a benevolent God. The personalism of John Paul II is an illuminating thread that runs through Architects, serving as a hopeful antidote.
Confessions of a Wallflower is a collection of poetry, prose, quotes, and personal journals about depression, self-love, love, loss, and healing. It's a journey to pain, sorrow, and suffering where the only destination is hope.
By painstakingly following the long international paper trails that connect such apparently unrelated manifestations and occurrences as crop circles, alien abductions, extraterrestrial activity, and many other modern mysteries, Bruce Rux uncovers a conspiracy of misinformation, denial, and silence among government officials. 30 photos. 50 illustrations.
The transformations of the Strip—from the fake Wild West to neon signs twenty stories high to “starchitecture”—and how they mirror America itself. The Las Vegas Strip has impersonated the Wild West, with saloon doors and wagon wheels; it has decked itself out in midcentury modern sleekness. It has illuminated itself with twenty-story-high neon signs, then junked them. After that came Disney-like theme parks featuring castles and pirates, followed by replicas of Venetian canals, New York skyscrapers, and the Eiffel Tower. (It might be noted that forty-two million people visited Las Vegas in 2015—ten million more than visited the real Paris.) More recently, the Strip decided to get classy, with casinos designed by famous architects and zillion-dollar collections of art. Las Vegas became the “implosion capital of the world” as developers, driven by competition, got rid of the old to make way for the new—offering a non-metaphorical definition of “creative destruction.” In The Strip, Stefan Al examines the many transformations of the Las Vegas Strip, arguing that they mirror transformations in America itself. The Strip is not, as popularly supposed, a display of architectural freaks but representative of architectural trends and a record of social, cultural, and economic change. Al tells two parallel stories. He describes the feverish competition of Las Vegas developers to build the snazziest, most tourist-grabbing casinos and resorts—with a cast of characters including the mobster Bugsy Siegel, the eccentric billionaire Howard Hughes, and the would-be political kingmaker Sheldon Adelson. And he views the Strip in a larger social context, showing that it has not only reflected trends but also magnified them and sometimes even initiated them. Generously illustrated with stunning color images throughout, The Strip traces the many metamorphoses of a city that offers a vivid projection of the American dream.