Groundworks

Groundworks gives accounts of the actual processes of working with individuals in six major schools of Somatics by either the creator of the method itself or a leading teacher of the method. The creators are Robert Hall of Lomi School, Bonnie Bainbridge Cohen of Body-Mind Centering, and Emilie Conrad Da'oud of Continuum. Leading teachers of methods include Michael Salveson on Rolfing, Elizabeth Beringer on Feldenkrais work, and Darcy Elman on F. M. Alexander Technique. Each therapist describes how he or she approaches and diagnoses a patient's problem, how he or she determines what and where to work, and the progress of a session. Each therapist shows the complexity of working with somatic processes and the resulting reward for client and therapist both.

The current environmental crisis calls for a unified practice of landscape and architecture that would allow buildings and landscapes to perform symbiotically to heal the environment. Over the past ten years, a diverse group of architects, landscape architects, and artists have undertaken groundbreaking projects that propose an integration of landscape and architecture, dissolving traditional distinctions between building and environment. Groundwork: Between Landscape and Architecture examines twenty-five projects, on an international scale, that consider landscape and architecture as true reciprocal entities. Groundwork divides the projects into three design directions: Topography, Ecology, and Biocomputation. Topographic designers create projects that manipulate the ground to merge building and landscape as in Cairo Expo City in Egypt (Zaha Hadid Architects), Island City Central Park Grin Grin in Fukuoka, Japan (Toyo Ito & Associates) and the City of Culture of Galicia in Santiago de Compostela, Spain (Eisenman Architects). Ecologic designers develop environments that address issues such as energy climate and remediation, such as I’m Lost In Paris in France (R&Sie(n)), Turistroute in Eggum, Norway (Snøhetta) and Parque Atlántico in Santander, Cantabria, Spain (Batlle i Roig Arquitectes). Biocomputation designers use digital technologies to align biology and design in projects such as the Grotto Concept (Aranda/Lasch), North Side Copse House in West Sussex, England (EcoLogicStudio) and Local Code: Real Estates (Nicolas de Monchaux.) What these projects all have in common is a desire to pay attention and homage to the liminal space where indoors and outdoors meet. The critical connection between natural and synthetic, exterior and interior space, paves the way toward a more inclusive—and indeed more alive—conceptualization of the physical world.

An illuminating look at a fundamental yet understudied aspect of Italian Renaissance painting The Italian Renaissance picture is renowned for its depiction of the human figure, from the dramatic foreshortening of the body to create depth to the subtle blending of tones and colors to achieve greater naturalism. Yet these techniques rely on a powerful compositional element that often goes overlooked. Groundwork provides the first in-depth examination of the complex relationship between figure and ground in Renaissance painting. “Ground” can refer to the preparation of a work’s surface, the fictive floor or plane, or the background on which figuration occurs. In laying the material foundation, artists perform groundwork, opening the ground as a zone that can precede, penetrate, or fracture the figure. David Young Kim looks at the work of Gentile da Fabriano, Giovanni Bellini, Giovanni Battista Moroni, and Caravaggio, reconstructing each painter’s methods to demonstrate the intricacies involved in laying ground layers whose translucency and polychromy permeate the surface. He charts significant transitions from gold ground painting in the Trecento to the darkened grounds in Baroque tenebrism, and offers close readings of period texts to shed new light on the significance of ground forms such as rock face, wall, and cave. This beautifully illustrated book reconceives the Renaissance picture, revealing the passion and mystery of groundwork and discovering figuration beyond the human figure.

Groundwork helps product leaders center their efforts on the most impactful problems, prioritize the right customer needs, enable durable decisions, and create customer-driven organizations that consistently develop products people actually want.

[T]he present groundwork is nothing more than the identification and vindication of the supreme principle of morality.' In the Groundwork for the Metaphysics of Morals (1785), Immanuel Kant makes clear his two central intentions: first, to uncover the principle that underpins morality, and secondly to defend its applicability to human beings. The result is one of the most significant texts in the history of ethics, and a masterpiece of Enlightenment thinking. Kant argues that moral law tells us to act only in ways that others could also act, thereby treating them as ends in themselves and not merely as means. Kant contends that despite apparent threats to our freedom from science, and to ethics from our self-interest, we can nonetheless take ourselves to be free rational agents, who as such have a motivation to act on this moral law, and thus the ability to act as moral beings. One of the most studied works of moral philosophy, this new translation by Robert Stern, Joe Saunders, and Christopher Bennett illuminates this famous text for modern readers.