Why does political decentralization seem reduce intrastate conflict more in some countries than in others? This question constitutes the central focus of Peace by Design. Brancati argues that the ability of decentralization to reduce intrastate conflict hinges on the electoral strength of regional parties. According to Brancati, regional parties tend to promote intrastate conflict by creating regional identities, advocating legislation harmful to other regions and regional minorities, and mobilizing groups to engage in conflict or supporting extremist organizations that do. Brancati also highlights a number of conditions under which regional parties are more likely to promote conflict, such as democratic transitions. Brancati further argues that decentralization increases the strength of regional parties depending on particular features of decentralization (i.e., the proportion of legislative seats a region possesses, the number of regional legislatures in a country, the upper house election procedures, the sequencing of national and regional elections). These features of decentralization vary across countries and are fundamental to explaining why decentralization is not effective in reducing conflict in all countries. Brancati's ultimate conclusion is that decentralization can be effectively designed to promote peace, as long as it is designed to encourage statewide parties to incorporate regional parties into their agendas and to limit the strength of regional parties. The author provides compelling evidence for her argument through three detailed cases studies (e.g., Czechoslovakia, Spain, and India) and a rigorous quantitative analysis in which she introduces a new dataset on constituency-level elections that will prove an invaluable resource for many future studies.

We live in an era in which designers will make an essential and critical contribution to the health and success of humanity. Design can promote healing in healthcare environments, contribute to good mental health, reduce gun violence, and positively impact health and racial equity, all of which contribute to providing a more peaceful world. The primary focus of this book is to inspire young designers, academics, and practitioners to achieve their maximum societal contribution. It also supports experienced designers seeking reaffirmation of their social goals. To provide a foundation, the first chapter discusses the definition of design and design thinking and evidence regarding the direct and indirect contributions of design to peace. The subsequent chapters address peace endeavors at six scales of the physical environment: sustainable and equitable design, landscape architecture, architecture, interior design, industrial design, and graphic design. Additionally, nine short cameos are provided by contributors from various disciplines, who provide their favorite examples of “peace projects.” Peace can be manifested at multiple levels: world-wide, neighborhood and community, familial, or individual, and the various authors discuss portions from this spectrum. They broadly endorse disciplinary entanglements as a means of addressing societal and sustainability challenges and celebrate the impact of collaboration. This book is essential reading for students and practitioners representing all fields of design, including graphic design, industrial design, interior design, architecture, landscape architecture, and urban design.

Designing Peace explores the unique role design can play in pursuing peace. Through fully illustrated essays, interviews, critical maps, and over forty design projects spanning the globe this book examines the numerous ways designers engage with individuals, communities, and organizations to create a more sustainable peace-from creative confrontations that challenge existing structures, to designs that demand embracing justice and truth in a search for reconciliation. This publication aims to expand the discourse on what is possible if society were to design for peace.

In this book he unfolds the first eyewitness account of the creation of a landmark building that was functionally and symbolically important in its time, marking the emergence of modern architecture as the dominant language of postwar institutions and cities.

A complete guide to creating planetary yantras to access their healing and centering benefits • Provides easy-to-follow instructions to create the yantras • Serves as an introduction to active meditation, which focuses the mind while the body is engaged in a meditative activity The tantric art of drawing or painting the nine designs known as yantras is an ancient practice of active meditation that releases positive healing and centering effects. Each of the nine designs corresponds to one of the nine qualities of body and mind essential to well-being: radiance, nourishment, passion, intellect, expansion, bliss, organization, uniqueness, and spirituality. From the basic elements of the square, the circle, and the triangle, dynamic visual meditations unfold as the practitioner works clockwise from the outer elements inward toward the central point of stillness, or bindu, the source of happiness within. An accompanying mantra is recited while preparing each yantra to fully engage the senses in the meditative process. Creating the design that “speaks” most to the practitioner enables its unique healing quality to be transmitted. For example, working on the yantra named “Radiance” cultivates optimism and the self-confidence to succeed in one’s endeavors, while “radiating,” or imparting, one’s inner light to others. This workbook provides an important resource for active meditation, a practice revered for its effectiveness in revealing the spiritual underpinnings of everyday life. The active participation of the body in meditation while creating the nine planetary yantras raises to the level of spiritual ritual the practitioner’s intention toward wakefulness and gives access to profound states of healing integration.

The wisdom of peace and the absurdity of fighting are demonstrated in seventeen stories and poems by outstanding authors of today such as Jean Fritz, Milton Meltzer, and Nancy Willard, illustrated by famous illustrators such as Paul Zelinsky, the Dillons, and Maurice Sendak.

Alan Hodgkin believes that - contrary to popular conviction - chance plays quite as large a role as design in scientific discovery. This engaging autobiography charts the balance of the two in his own life. Beginning starts with an account of his childhood in an extended Quaker family. Not a great success at school, he nevertheless won a scholarship to Trinity College, Cambridge, and he writes informatively of the climate of university opinion in the thirties when he was an undergraduate and came to abandon the pacifist ideals of his upbringing. A chance observation on frog nerve led to a Trinity Fellowship and a year at the Rockefeller Institute in New York (where he met his future wife), to the Nobel Prize in 1963, and ultimately to the Presidency of the Royal Society. His experiments on nerve conduction seemed almost at the point of success when everything had to be abandoned on the outbreak of war in 1939, and for six years Hodgkin worked on the concept and design of airborne radar, described in the central section of the book as Flight Trials and Tribulations. The account of his return to civilian life and the resumption of experimentation includes two chapters of solid detail of Starting Again - for this is a book for any reader interested in the origin and development of a dedicated scientist.