Book Description
A visual lexicon of the colorful slang, from alligator investment to zoomburb, that defines sprawl in America. "May well establish Ms. Hayden as the Roger Tory Peterson of Sprawl."—New York Times
Duck, ruburb, tower farm, big box, and pig-in-a-python are among the dozens of zany terms invented by real estate developers and designers today to characterize land-use practices and the physical elements of sprawl. Sprawl in the environment, based on the metaphor of a person spread out, is hard to define. This concise book engages its meaning, explains common building patterns, and illustrates the visual culture of sprawl. Seventy-five stunning color aerial photographs, each paired with a definition, convey the impact of excessive development. This "engagingly organized and splendidly photographed" (Wall Street Journal) book provides the verbal and visual vocabulary needed by professionals, public officials, and citizens to critique uncontrolled growth in the American landscape. 75 color photographs.
Customer Reviews:
Great little book.......2007-04-07
The numerous color aerial photos in this book do a wonderful job of putting US development patterns into a whole new perspective. This isn't intended to be the end all be all of commentary about sprawl. For that, there are plenty of other great books that emphasize analysis and critique rather than a visual approach (A Better Way to Live is an example of a terrific book in the former category). This book is a great introduction to the different kinds of sprawl and what they look like. Sure, Dolores Hayden puts a fairly cynical touch on what commentary there is, but when you see the pictures of how developers have ruined our open spaces, you'll understand why. In short, a great little book that achieves its purpose very well.
A Field Guide to Sprawl.......2006-07-19
Small coffee-table format picture book. There is a 10-page introduction, which is excellent, then 51 vocabulary terms. Each vocab term is 2 pages - one page is an aerial example picture, the facing page is text describing the term. The terms are mostly pejorative (slang) and are critical of certain types of development. This is not "new" stuff many of these terms and criticisms go back to the 1940s. While some of the terms are obvious (strip malls, McMansions) much of it is not obvious and opens a whole new way of seeing why certain things are laid out the way they are. More so, it helps to predict how future development will happen based on current development patterns. This book is a layman's guide to development criticism. Should be required reading for all who live in a developing community.
Book in Great Condition.......2006-03-19
The book arrived ahead of schedule and was in great condition
Average at best.......2005-08-15
The book is very simple and somewhat boring. I looked through the thing in less than an hour and now it's stuck in the closet. It does have some good aerial photos, but only a few. I was hoping the book would be a coffee table book for people to look through when they are over but it's now in the closet for who knows how long. It looks too much like an encyclopedia than a coffee table book in my opinion. The text isn't very well thought out either. Believe me, I'm an Urban Planner and so I'm interested in this stuff and have read a lot about sprawl, but this book just doesn't do it for me.
Great pictures, uneven text.......2005-08-01
I agree with both the positive and negative reviews: I loved the pictures (as did the positive reviews)- they definitely gave me a better feel for concepts like "pods" that I am used to seeing from ground level. But I also think that some of Hayden's language was unclear, needlessly polemical, or both. For example, she writes that ducks (buildings that serve as advertisements) "are always out of context and do little to unify neighborhoods." But what does it mean for a building to be "out of context"? How does a cheese shop "unify a neighborhood", whether it is ugly or pretty? Also, Hayden's points sometimes have little to do with sprawl- for example, she has an entry on "Export Garbage" but she does not explain why she thinks suburbs generate more garbage than cities.
But on balance I liked this book, mainly because she spends only a paragraph or two on each concept, so even the text entries I would have written differently did not take up a lot of my time.
Book Description
This digital document is an article from Westchester County Business Journal, published by Thomson Gale on January 30, 2006. The length of the article is 569 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available in your Amazon.com Digital Locker immediately after purchase. You can view it with any web browser.
Citation Details
Title: "A field guide to Sprawl" opens Febuary 4th.(on exhibit)
Author: Emily Seife
Publication:
Westchester County Business Journal (Magazine/Journal)
Date: January 30, 2006
Publisher: Thomson Gale
Volume: 45
Issue: 5
Page: A3(1)
Distributed by Thomson Gale
Average customer rating:
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Pictionary.(A Field Guide to Sprawl)(Book Review): An article from: Planning
Manufacturer: American Planning Association
ProductGroup: Book
Binding: Digital
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ASIN: B00084ARXI
Release Date: 2005-06-01 |
Book Description
This digital document is an article from Planning, published by American Planning Association on October 1, 2004. The length of the article is 386 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available in your Amazon.com Digital Locker immediately after purchase. You can view it with any web browser.
Citation Details
Title: Pictionary.(A Field Guide to Sprawl)(Book Review)
Publication:
Planning (Magazine/Journal)
Date: October 1, 2004
Publisher: American Planning Association
Volume: 70
Issue: 9
Page: 43(2)
Article Type: Book Review
Distributed by Thomson Gale
Average customer rating:
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Field Guide to Sprawl
Manufacturer: NORTON W W & CO
ProductGroup: Book
Binding: Hardcover
ASIN: B000H0IOG0 |
Amazon.com
British painter David Hockney, well known for his cool and lovely paintings of California pools, has taken on the new role of detective. For two years Hockney seriously investigated the painting techniques of the old masters, and like any admirable sleuth, compiled substantial evidence to support his revolutionary theory. Secret Knowledge is the fruit of this labor, an exhaustive treatise in pictures revealing clues that some of the world's most famous painters, Ingres, Velázquez, Caravaggio (just to mention a few) utilized optics and lenses in creating their masterpieces. Hockney's fascination with the subject is contagious, and the book feels almost like a game with each analysis a "How'd they do that?" instead of a whodunit. While some may find the technical revelation a disappointment in terms of the idea of genius, Hockney is quick to point out that the use of optics does not diminish the immensity of artistic achievement. He reminds the reader that a tool is just a tool, and it is still the artist's hand and creative vision that produce a work of art. (296 pages, 460 illustrations, 402 in color.) --J.P. Cohen
Book Description
David Hockney's controversial book, now revised in paperback with thirty-two new pages of evidence
Join one of the most influential artists of our time as he investigates the painting techniques of the Old Masters. Hockney's extensive research led him to conclude that artists such as Caravaggio, Velázquez, da Vinci, and other hyperrealists actually used optics and lenses to create their masterpieces.
In this passionate yet pithy book, Hockney takes readers on a journey of discovery as he builds a case that mirrors and lenses were used by the great masters to create their highly detailed and realistic paintings and drawings. Hundreds of the best-known and best-loved paintings are reproduced alongside his straightforward analysis. Hockney also includes his own photographs and drawings to illustrate techniques used to capture such accurate likenesses. Extracts from historical and modern documents and correspondence with experts from around the world further illuminate this thought-provoking book that will forever change how the world looks at art.
Secret Knowledge will open your eyes to how we perceive the world and how we choose to represent it.
Customer Reviews:
Not so Secret to Art Technicians.......2007-08-13
Nothing is revealed but much is speculative, add a dash of "evidence" and juggle well.....I must admit to being both a commercial artist and a so-called fine artist, sign painter, computer graphic artist, sculptor, teacher, ceramics artist, candlemaker, etc., who has embraced all the projectors, cameras, overhead projectors, slide projectors, computers, tv's and every imaginable device that I could manage on many occasions, to meet a deadline. I've been drawing for my entire life and am quite studied. But, I find Hockney's revealing text and SECRET ideas to be simply another "fashionable" and wearable piece of entertainment from the old salt. Sue me. Then sue Rembrandt. As for the nasty reviews, what's up with the this public's deluded needs that every so-called master MUST be a superb draftsman? SIMPLY SAVES SOME TIME AND ENERGY TO PROJECT A DRAWING OR SKETCH. Hockney's work is bright, bold and fashionable. Those artists to whom we entitle as "masters" were similarly inclined, all attempted to be supported by their productions!! Any artist knows that those fuzzy afterimages he sees in his sleep certainly won't sell, and even the abstractionists of every ilk, must strive for atmosphere, depth cues, etc. Art is about making an illusion, and to use a lens is no sin. Especially when for the most part, your painting must done by candle light or very limited daylight, most often in freezing cold ateliers, heated by a wood stove....Be quiet though, the public doesn't really want their opined bubble popped!
Hockney's Evidence is Thought-Provoking, Verifiable/Falsifiable.......2007-03-27
Critics and reviewers who have rated Hockney's Secret Knowledge low seem to me to overlooks some major points. Some of these I find more persuasive than the the issue of alleged perspective misjudgment which seem to attract the greatest heat.
1. H points out that a huge majority of portraits in the period show the model as left handed--some 80%. This is consistent with use of lenses and inconsistent with the frequency of left-handedness in the population. Now, here is a verifiable fact. Are H's numbers right--or are they not?
2. H is not claiming that everyone 1400-1650 was a poor draftsman. At least in what I've seen so far, he doesn't claim e.g. that Rembrandt used optics. Part of his evidence is however that some artists who were great painters were not great draftsmen--their painting exceeds in accuracy their draftsmanship. Now this appears to me again something that is verifiable by a third party. (The question of H's own draftsmanship abilities is totally irrlevant. I don't like his art much myself).
3. In a highly competitive art market, where realism counted, what is the likelihood that artists would >not
< use devices that helped them both with accuracy and speed? Even if the great Ren artists could paint and draw realistically without optics (and their education certainly was thorough), throughput and competitive concerns surely would have pushed them in that direction.
4. To my knowledge, no one has responded to H's claim that the change in light to very strong with dark shadows from about 1400 (light is flat) to 1500 is very consistent with use of optics. Yes, that is not the only possible explanation. But from a philosophy of science perspective, this phenomenon and the phenomenon of increased accuracy need to be explained. H at least offers an explanation. The burden of an alternative explanation is on the critics. H's hypothesis could be falsified by showing that in fact strong lighting was used before this period and flat lighting afterwards.
5. Another phenomenon for which H has an explanation but for which I haven't seen alternatives is the fact that in many realistic paintings, depth of field is evident. An example is the famous Vermeer milk pitcher painting. H has an explanation of why the foreground breadbasket is out of focus, while the background basket is (oddly) in focus. If a critic doesn't like H's explanation, he/she should provide an alternative.
6. H shows that in some cases extremely precise scaling is evident--scaling that would be very difficult to do by hand. Prof Falco, the optics and superconducting physicist who collaborated with H., has done the math and claimed that obtaining such accuracy by hand is very difficult since the error is (as I remember) under 2%). Doing anything by hand with under 2% error is quite a feat--including reconciling bank statements :)-- never mind drawing. Here is another phenomenon in which either the factual statements by H and Falco can be easily verified/falsified or need an alternative explanation should be provided.
On an ad hominem note, I think it is worth pointing out that art historians have a built-in motive for rejecting H's hypothesis: They didn't find it! I took an amateur to notice the discrepancies. Finally, personal experience suggests that some people have a lot more difficult time with accuracy/obtaining a likeness than others. For H to be correct, he does not need to support the claim that everyone who was accurate used optics, only that some did and these raised the bar for the art community as a whole.
Thanks for reading.
Another great book from Hockney's first rate mind.......2007-01-12
I have spent years painting and teaching and drawing the figure. Its amazing how much a person still can learn after practicing it for so long. This is one of the joys of drawing. Every investigated mark is a learning experience. That is what I also love about Hockney. This man might not be the greatest shining star artist of our time, but it would be easy to defend him as the greatest thinker in the arts since Da Vinci.
'Secret Knowledge' is just a small chunk of Hockney's oeuvre. He has been writing books primarily through the interview form for decades. Each book has looked at aspects of art in different lights. This book only happens to be the most concise and stylized of his many efforts.
Basically, if your here reading this, I bet you have some idea what this book is about already. You know that Hockney is putting forth a thesis on how drawings were so precisely crafted by the masters two hundred years ago, while today as one of our societies foremost draftsmen, Hockney cant even come close to matching those abilities. Hockney goes into detail on how he can see characteristic pencil marks created by Warhol or other artists using over-head projectors and Ingres' drawings. This is pretty obvious if you have done both. Hockney then goes into precise detail on the drawbacks of using the camera lucidea and obscuras and how they were used.
I really find some qualms with the reviewer who says that Hockney's arguments are on par with a junior high school students and that they are not scientific. Quite the contrary. Hockney's arguments are precise and unfold in a step by step process. You can't really give scientific proof over how a drawing was created any other way than Hockney has done so. The more time you spend drawing the figure, the more you will realize what Hockney is saying, is right on.
I think that this book will go down as one of the benchmark art books of our era. Its well worth pondering over and I think that even though it does not have quite as much relevance in our post-modern era, it will be around for as long as people still want to understand art.
An Important And Original Work.......2007-01-10
An excellent read for those interested in the way artworks were produced. The book's inferences humanize Art History and will change the way you look at the works of past masters. Hockney's research is well documented, well presented and profound.
'A portrait is a painting with something wrong with the mouth' John Singer Sargent.......2006-12-14
Reaction to David Hockney's original book SECRET KNOWLEDGE published in 2001 stirred a lot of controversy from artists, art historians, art collectors, and students: the responses ranged from resounding Bravos! to a clangorous 'Humbugs!' Now Hockney has produced a second expanded volume, partially in response to that outbreak of slander and partially to fill the voids left by his first set of observations. This newly expanded version retains the luxury of copious images of paintings from the early 15th century to the present and adds to that a fascinating series of historical quotations from across the centuries to support his theory. In other words, the book is still controversial - but now it is backed by researched documents from ancient and contemporary scholars.
His theory? Simply that artists from those following Giotto to the present used optics as a tool to create images. Hockney does not disparage this 'manipulation' as a foil to famous artists' integrity or talent: quite the opposite - he lauds the artists who had the intelligence to make use of yet another tool (like paint brushes, charcoal, paper, easels, etc) to hone their skills. Hockney gently and with respect explores the use of the camera obscura and camera lucida along with the use of concave and convex mirrors and lenses, offering the reader not only his ideas on the subject but also splendid examples of how the discovery of optics changed the quality of painting over a mere tow or three years of usage time with such luminaries as Velasquez and Caravaggio!
Whether or not the reader elects to accept Hockney's premise of the importance of optics in the development of art history will not prevent enjoying the fascinating excursion this well designed and produced book offers. Hockney intermingles his own portraits meticulously created with the use of the camera lucida to demonstrate how this technique was in no way a sign of laziness or 'copying' of a projected image on the part of the artists he discusses. Quite the contrary. By utilizing these techniques and sharing the inherent difficulties the use of optics creates in the technical aspects of painting and drawing he is able to speak with authority about his thesis.
Hockney's joy (which continues to this day) is exploring the 'How did they do that?' response to painting, not unlike the way most of us approach a canvas and as 'What does it mean?'. It is this kind of intellectual searching that makes this book such a treasure - that, and the fact that here is yet another superb art history book that the reader will actually READ instead of just perusing the pictures. Highly recommended on many levels. Grady Harp, December 06
Book Description
Go beyond the familiar--into the hidden world of pattern, texture, and detail that only comes into focus when you go close-up. Every breathtaking color photograph of such glories of the natural world as shimmering ice crystals, the rough flesh of a baby Chinese Water Dragon, and the translucent, colorful wings of a monarch butterfly will inspire you to try some new techniques. All the up-to-the minute information on close-up technology and style is here. Learn about all the tools of the trade, from camera to film to the all-important lenses; exposures; lighting; the range of subjects to choose from (even familiar household items!); and eye-grabbing compositions. You'll want to pick up your camera and start shooting immediately! 160 pages (all in color), 8 1/4 x 11.
Customer Reviews:
Insightful and Elegant.......2005-03-04
I've read many books on close-up and macro photography. This one is different from the others, and perhaps the best of the lot. The stunning features of Davies' book is the author's compositional skill (the photos are fabulous), and his ability to relate the technical aspects of macro and close-up photography to the reader. Among his artfull techniques is his extensive use of wide-angle lenses for close-ups. How many other works on the subject explore this possibility? This alone justified purchasing the book for me, since I now make frequent use of the technique.
Though he doesn't mention it in the text, notice how often he under-exposes slide film by about one stop in many of his images. This is one other useful technique I picked up from the book.
I really reccomend this one.
An excellent book.......2004-08-29
This book got me into the world of macro photography. It's mainly directed to the 35mm owners, explains all the basics - DOF, depth of focus (did you know it's not the same?), diffraction and many more.. How to reverse a lens? What can you do with an extension tube? or a converter? How to correct exposure? All answers inside, illustrated with stunning photos. Under every photo in the book you can find all the required details, including the gear used. Really practical, highly recomended.
A decent one for a beginner.......2004-08-08
This is a good book for people interested in close-up and macro photography, its advice is helpful and clear. However, you should consider the volume by Ronan Loaec and Gilles Martin instead. It is somewhat deeper into the subject, but the main reason I recommend it is because Davies' photographs, while perfect, look amateurish compared to Martin's ones, especially judging the artistic aspects.
excellent detail! Excellent book.......2003-03-05
I must say i am completly satisfied with the book. It cover all aspects of macro fotography,hardware, lighting, aperture,flash etc. It also goes into extreme detail in explaning other factors including exposure, calculations and so on. It tells you how to do macro photo in different scenarios.
Amazon just happen to have this book in stock cheaper than my local bookstore.
The Complete Guide to Close Up and MacRo Photography.......2002-10-08
If one wants to explore and record the beauty of close up objects, this is one anyone should have. Interesting, educational, inspirational and beautiful, this book deserves the praise it is receiving. From the author of Nature's Palette: There's More to See, Michael Impellizzeri.
Product Description
This book is designed with the 35mm photographer in mind and covers everything from photographing tiny subjects like stamps, jewelry, flowers and insects to choosing the right equipment for macro and close-up photography. Insightful text is accompanied by amazingly sharp images that show how the techniques can be used.
Customer Reviews:
Not the best book for macro photography.......2002-06-11
It is the most useless book for macro photography I ever read. The pictures are unsharp and mostly in b&w. You can get the information from this book in every basic photography book ... worthless! The language used is not very easy for beginners and advanced macro photographers know everything described in this book.
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