Marine Review and Marine Record
Author :
Publisher :
Page : 1324 pages
File Size : 13,18 MB
Release : 1903
Category : Marine engineering
ISBN :
Author :
Publisher :
Page : 1324 pages
File Size : 13,18 MB
Release : 1903
Category : Marine engineering
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Author : British Museum. Dept. of Printed Books
Publisher :
Page : 1248 pages
File Size : 35,8 MB
Release : 1967
Category : English imprints
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Author : British museum. Dept. of printed books
Publisher :
Page : 560 pages
File Size : 29,13 MB
Release : 1931
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Author : British Museum. Department of Printed Books
Publisher :
Page : 560 pages
File Size : 25,32 MB
Release : 1965
Category : English imprints
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Page : 1112 pages
File Size : 12,29 MB
Release : 1864
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Author :
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Page : 432 pages
File Size : 28,48 MB
Release : 1889
Category : Engineering
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Author : Ed Catmull
Publisher : Random House
Page : 367 pages
File Size : 31,49 MB
Release : 2014-04-08
Category : Business & Economics
ISBN : 0679644504
The co-founder and longtime president of Pixar updates and expands his 2014 New York Times bestseller on creative leadership, reflecting on the management principles that built Pixar’s singularly successful culture, and on all he learned during the past nine years that allowed Pixar to retain its creative culture while continuing to evolve. “Might be the most thoughtful management book ever.”—Fast Company For nearly thirty years, Pixar has dominated the world of animation, producing such beloved films as the Toy Story trilogy, Finding Nemo, The Incredibles, Up, and WALL-E, which have gone on to set box-office records and garner eighteen Academy Awards. The joyous storytelling, the inventive plots, the emotional authenticity: In some ways, Pixar movies are an object lesson in what creativity really is. Here, Catmull reveals the ideals and techniques that have made Pixar so widely admired—and so profitable. As a young man, Ed Catmull had a dream: to make the first computer-animated movie. He nurtured that dream as a Ph.D. student, and then forged a partnership with George Lucas that led, indirectly, to his founding Pixar with Steve Jobs and John Lasseter in 1986. Nine years later, Toy Story was released, changing animation forever. The essential ingredient in that movie’s success—and in the twenty-five movies that followed—was the unique environment that Catmull and his colleagues built at Pixar, based on philosophies that protect the creative process and defy convention, such as: • Give a good idea to a mediocre team and they will screw it up. But give a mediocre idea to a great team and they will either fix it or come up with something better. • It’s not the manager’s job to prevent risks. It’s the manager’s job to make it safe for others to take them. • The cost of preventing errors is often far greater than the cost of fixing them. • A company’s communication structure should not mirror its organizational structure. Everybody should be able to talk to anybody. Creativity, Inc. has been significantly expanded to illuminate the continuing development of the unique culture at Pixar. It features a new introduction, two entirely new chapters, four new chapter postscripts, and changes and updates throughout. Pursuing excellence isn’t a one-off assignment but an ongoing, day-in, day-out, full-time job. And Creativity, Inc. explores how it is done.
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Page : 838 pages
File Size : 26,11 MB
Release : 1864
Category : Law
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Author : Emile van der Does de Willebois
Publisher : World Bank Publications
Page : 230 pages
File Size : 27,60 MB
Release : 2011-11-01
Category : Law
ISBN : 0821388967
This report examines the use of these entities in nearly all cases of corruption. It builds upon case law, interviews with investigators, corporate registries and financial institutions and a 'mystery shopping' exercise to provide evidence of this criminal practice.
Author : Sarah Bonnemaison
Publisher : Princeton Architectural Press
Page : 194 pages
File Size : 13,89 MB
Release : 2009-08-12
Category : Architecture
ISBN : 9781568988504
Over the last few decades, a rich and increasingly diverse practice has emerged in the art world that invites the public to touch, enter, and experience the work, whether it is in a gallery, on city streets, or in the landscape. Like architecture, many of these temporary artworks aspire to alter viewers' experience of the environment. An installation is usually the end product for an artist, but for architects it can also be a preliminary step in an ongoing design process. Like paper projects designed in the absence of "real" architecture, installations offer architects another way to engage in issues critical to their practice. Direct experimentation with architecture's material and social dimensions engages the public around issues in the built environment that concern them and expands the ways that architecture can participate in and impact people's everyday lives. The first survey of its kind, Installations by Architects features fifty of the most significant projects from the last twenty-five years by today's most exciting architects, including Anderson Anderson, Philip Beesley, Diller + Scofidio, John Hejduk, Dan Hoffman, and Kuth/Ranieri Architects. Projects are grouped in critical areas of discussion under the themes of tectonics, body, nature, memory, and public space. Each project is supplemented by interviews with the project architects and the discussions of critics and theorists situated within a larger intellectual context. There is no doubt that installations will continue to play a critical role in the practice of architecture. Installations by Architects aims to contribute to the role of installations in sharpening our understanding of the built environment.