The intricate forms of living things bespeak design, and thus a creator: nearly 150 years after Darwin's theory of natural selection called this argument into question, we still speak of life in terms of design--the function of the eye, the purpose of the webbed foot, the design of the fins. Why is the "argument from design" so tenacious, and does Darwinism--itself still evolving after all these years--necessarily undo it?

The definitive work on these contentious questions, Darwin and Design surveys the argument from design from its introduction by the Greeks, through the coming of Darwinism, down to the present day. In clear, non-technical language Michael Ruse, a well-known authority on the history and philosophy of Darwinism, offers a full and fair assessment of the status of the argument from design in light of both the advances of modern evolutionary biology and the thinking of today's philosophers--with special attention given to the supporters and critics of "intelligent design."

The first comprehensive history and exposition of Western thought about design in the natural world, this important work suggests directions for our thinking as we move into the twenty-first century. A thoroughgoing guide to a perennially controversial issue, the book makes its own substantial contribution to the ongoing debate about the relationship between science and religion, and between evolution and its religious critics.

The design of information literacy instruction and the building of it are two distinct skillsets and processes; yet all too often everything gets mashed together, creating needless confusion and stress. In this book Turnbow, an instructional designer, and Roth, an instructional technologist, suggest a better way to organize the work. They shed light on the people, processes, and resources required to create a sustainable portfolio of online instruction. With the goal of fostering conversations in your library about the most streamlined and effective ways to get the work done, they provide guidance on such topics as

• design and development processes, complete with “I.D. in Action” examples and sample design documents;
• thumbnail descriptions of ADDIE, SAM, and design thinking methods;
• creating learning objects;
• types of software tools and how to evaluate them;
• crafting the best documentation of your work for efficient maintenance and reuse;
• adapting assessment to your learning outcomes and purpose;
• when to design for performance support, an underutilized method in libraries; and
• starting points for those interested in developing instructional design and development skills.

Demystifying the instructional design and development process used to create online learning objects, this book will help you understand how instructional design principles and approaches can benefit your learners.

Public protests are a vital tool for asserting grievances and creating temporary, yet tangible, communities as the world becomes more democratic and urban in the twenty-first century. While the political and social aspects of protest have been extensively studied, little attention has been paid to the physical spaces in which protests happen. Yet place is a crucial aspect of protests, influencing the dynamics and engagement patterns among participants. In The Design of Protest, Tali Hatuka offers the first extensive discussion of the act of protest as a design: that is, a planned event in a space whose physical geometry and symbolic meaning are used and appropriated by its organizers, who aim to challenge socio-spatial distance between political institutions and the people they should serve.

Presenting case studies from around the world, including Tiananmen Square in Beijing; the National Mall in Washington, DC; Rabin Square in Tel Aviv; and the Plaza de Mayo in Buenos Aires, Hatuka identifies three major dimensions of public protests: the process of planning the protest in a particular place; the choice of spatial choreography of the event, including the value and meaning of specific tactics; and the challenges of performing contemporary protests in public space in a fragmented, complex, and conflicted world. Numerous photographs, detailed diagrams, and plans complement the case studies, which draw upon interviews with city officials, urban planners, and protesters themselves.

With the role of the landscape architect increasing as it is in importance, this first comprehensive survey of the art and practice of landscape architecture fills a great need.

Norman T. Newton has included over 400 illustrations in his book, which conveys a basic understanding of the aims and scope of landscape architecture and offers visual analyses of major historic works, each in the context of its own time.

The first third of the study is concerned with landscape architecture in the Western world, mainly Europe, from ancient times to the mid-nineteenth century. But the major part of the work is devoted to the development of landscape architecture in the century that has passed since it acquired the status of a profession and an independent discipline.

Concentrating primarily on the United States, Mr. Newton reviews his subject from its beginnings in colonial days to the work of Olmsted, Vaux, Cleveland, Weidenmann, Eliot, Platt, and the founders of the American Society of Landscape Architects. He discusses the Columbian Exposition of 1893, the "City Beautiful" movement and the growth of city planning, the Country Place Era, town planning in England and America, American national and state parks, parkways, urban open spaces, and recent variations in professional practice.

Mr. Newton concludes his book with a timely discussion of the vital role that landscape architecture plays in the conservation of natural resources and in protection of the environment.

In 1988–1989 the three hundredth anniversary of an important historical event, the ascension of William and Mary to the thrones of England and Scotland, was celebrated in the Netherlands, the United Kingdom, and the United States of America. The symposium on Dutch garden art held at Dumbarton Oaks in May 1988 was the only scholarly event during the anniversary year that focused wholly upon gardens.

This wide-ranging collection of essays charts the history, scope, and spread of Dutch garden art during the seventeenth century. A group of scholars, mostly Dutch, surveys what has been called the “golden age” of Dutch garden design. Essays discuss the political context of William’s building and gardening activities at his palace of Het Loo in the Netherlands; the development of a distinctively Dutch garden art during the seventeenth century; country house poetry; and specific estates and their gardens, such as those of Johan Maurits van Nassau-Siegen at Cleves or Sorgvliet, the estate of Hans Willem Bentinck, later the Earl of Portland. Other contributions concern typical Dutch planting and layouts, with a focus upon Jan van der Green’s much-circulated Den Nederlandtsen Hovenier; the designs of Daniel Marot, the Huguenot refugee from France, who worked for William III in both the Netherlands and England; and the attitudes of the English toward Dutch gardening as it was observed in practice and mythologized through the distorting lens of national cooperation and rivalries.