5 comments about What Not To Build: Do's and Don'ts of Exterior Home Design.

1. I've done a fair amount of reading in architecture over the years, mostly on historical topics, and building and designing your typical family home wasn't something I knew as much about. As I was in the process of building my own house for the first time, I decided to look at this book to see what I could learn.
   
   I was a little bit nervous, actually, since I was afraid I'd found that I'd made so many mistakes. But I was pleased to find out that overall we'd done all right, and hadn't made any horrible blunders. There were a couple of minor errors, but nothing terrible. So overall I was pretty pleased, or at least, relieved. :-)
   
   If you've never studied architecture before, this book is an easy way to get your feet wet, especially if you're planning a home yourself. The authors cover the most important topics, such as entry ways, porches, columns and open spaces; the proportions and ratios of structural elements such as that of columns to supported beams; correct design, proportion, and placement of dormer windows (the window should take up 75% of the space, otherwise it looks too small); the use and misuse of building materials; problems with walls, windows, and rooflines; and other topics.
   
   The book is liberally illustrated with many examples of correct houses, and incorrect ones on the same page so you can easily compare. Some of these well-intentioned but faulty houses were almost comical. Several houses had high, arched, entry ways that were way-oversized and would have looked fine on a Gothic cathedral, but on a family home, they looked wildly out of place. The massive entry way dominated the whole facade and just detracted from the rest of the elevation (or front of the house).
   
   Some of the other errors were more subtle, and weren't quite as obvious, but as you learn the canons of true architecture, as oppposed to merely winging it, which is what the authors say happens more and more with builders, you begin to appreciate the correct way of doing it. For example, one problem you run into is a too-complex roof line that's broken up and takes away from the facade and other structural and design aspects of the house, or a too complex facade that's just too busy. When first looking at these houses, they looked fine to me, but when I saw the corrected house illustration, I could see what the authors were saying. In other words, sometimes less is truly more. Or a better way to phrase it might be to say that good design is more about the harmonious combination and integration of all elements, which complement and flow smoothly into each other, rather than ostentation and needless complexity, which causes disruption and interrupts that flow and harmony.
   
   The book is well written, profusely illustrated, and contains a huge amount of practical advice on what to do, and what not to do, in building a house. If your average builder just read this book they'd learn a lot, as I did, about good design and how to go about achieving it. The rules really aren't that hard to learn, and you can read the whole book in just a few hours, since it's mostly illustrations with some explanatory text. This is money well spent considering how much you'll probably save if you ever decide to build your own house.



2. As a novice looking to renovate my house, it has been a good crash course for me which made me aware of things that I found wrong in houses I saw but couldn't quite put a finger on. In the big scheme of $$ spent on a house renovation, cranking out $25 for this book is small fish and a good start .. but yes, it is limited in what it teaches, mainly what not to build. Four *s regardless, because of the value of the book as a crash course. I saw immediately afterwards what my neighbors should have done to get their renovation right. One may say that the examples in the book of what not to build are obvious, .. but that it the achievement of the book, to highlight them so clearly that they seem obvious.



3. This book brilliantly details what is wrong with american architecture. Too often builders build what clients come up with-no matter it is a monstrosity simply because the bills are paid. Hopefully home owners will read this book and put thought into their homes, rather than going on a wing and a prayer. The before and then the photo shopped afters are masterful. bravo!!!



4. Starting the late 1930's, Architecture schools have been teaching a steady stream of "modernism" to young architects. The rules of architecture that were developed over the course of 2,500 years were tossed out in favor of a new design agenda. However, most new home buyers have never bought into the modernist agenda. They prefer more traditional styles of homes. The result of this mismatch is that many architects were never taught to design traditional styles of homes. One only needs to drive the streets of America's suburbs to see the monstrous results of this failure to educate the nation's architects.
   
   "What Not To Build" is a visual survey of all that has gone wrong in the past half century. Using photographs of actual buildings, the authors show what not to do when building a new house. Then using computer technology, they create new images of the same building that are done correctly. There are over 50 before and after examples and over 300 photos that show how homes can be improved through good design.
   
   The target market for this book are people who are thinking about building a new home. Ideally, this book will help a person working with an architect to see if the proposed design even makes visual sense. Beware, hiring a licensed architect is no guarantee that the architect has any idea how to design a traditional home. This is the largest investment that most home buyers will ever make. It is essential for new home buyers to educate themselves on the basics of good home design. "What Not To Build" is an inexpensive book and the little time spent reading it, can spare a home buyer a real architectural disaster. This book is highly recommended.



5. Ok, it is a fun book to look through, but honestly I can't see how it could help us select house plans which is why we bought it. The house picture on the book cover is obviously made up from many different houses and not what one would see a sane person build. We know what looks good and what we like and wouldn't make the blunders this book warns about.

1 comments about Log Cabin Classics.

1. We often romanticize about the small cabin in the woods, by the lake, or atop a mountain- the home that is in tune with nature. ~Robbin Obomsawin
   
   The first time I saw a log cabin it was love at first sight. One of my best gal friends from college is always dreaming of having her brother build her a log cabin. I'm dreaming of visiting her and sipping hot chocolate by a fireplace and catching up on her travels to Russia. The wish to live in a log cabin may be inspired by a romantic weekend or a trip to a friend's house in the woods.
   
   In "Log Cabin Classics" old-world cabins are inspired by nostalgic moments, a desire to be in harmony with nature and local materials.
   
   You will find information on Cabin Fever, Building Small Cabins, Second Homes, Planning Strategies, Risks and Problems, Budgeting and Construction Contracts, Reclaiming Wood and Building with Nature.
   
   The author, Robbin Obomsawin is the construction manager and general contractor for Beaver Creek Log Homes. She has an in-depth knowledge of conventional construction and lives in Westdale, New York.
   
   Robbin displays not only a intricate knowledge of log cabin construction, she is a deft writer who displays a true love of natural surroundings and nature escapes.
   
   If you are looking for decorating ideas, there are quite a few and full-color pictures display various settings. There are house plans complete with ideas for wraparound kitchens and bedroom lofts. I love the cozy bedrooms and rocking chairs placed near fireplaces.
   
   Bonus: You can also order blueprints from Beaver Creek Log Homes. There is also a list of resources to help you plan your building project.
   
   ~The Rebecca Review

No comments about Country Homes: 165 Plans with Rural Character (American Collection) (American Collection).

1 comments about Renzo Piano Museums.

1. I love Piano's work, it's elegant and functional. This book is fantastic, it is well researched and the images are very well presented. Though Piano designs all kinds of buildings for all sorts of functions, he is most famous for his museums. I am most familiar with his amazing buildings for the Menil Collection and his Nasher Collection, the are both quenticential Renzo Piano. The two builds at first glance, look little alike, but if you tour them, the are actually quite similar, Piano uses his amazing understanding of light to make the buildings come alive. This book includes these buildings of course, but also other musuems he created, all so different on the surface, but still so Piano. I saw him lecture at the Menil last summer and he was amazing, very funny and charismatic, he had the whole outdoor pavilion in the palm of his hand. He of course talked about his obsession with how light is going to play in his buildings and he discussed Mrs. Menil, and you realized why his clients love him so much. I dont usually call somebody a genius, but when it comes to architecture, Piano is indeed a genius, he is without question one of the most inventive and most admired architect of his era. As for this book, if you love Piano or just appreciate beautiful architecture, I cant imagine you not loving this book.

5 comments about Mutations.

1. This ridiculous book is nothing more and nothing less than a sad example of the disdain these authors feel for the world at large and for their poor readers in particular. Riddled with typos, filled with pictures of the poorest quality and utterly devoid of any original ideas, the book falls back, again and again, on worn, political cliches and pompous, unnecessarily complex phrasings that serve only one purpose: to conceal the fact that there is absolutely nothing of worth or merit being said here (beyond the incredibly, utterly astounding insight that cities, third world cities especially, are growing pretty darn fast!) At certain points it seems that even the writers can't follow their own ramblings. One particularly confused contributor (McKenzie Wark) writes " . . . technologies enclose, they count and rank what they enclose." Then, four sentences later, he/she writes: "Technologies do not enframe. There's no enclosure . . ." And that is about as coherent as that writer gets. One can only conclude that these people never expected anyone to actually read their book, since they obviously didn't take the time to read it themselves. Thank you Rem Koolhaas and your band of incompetent contributors for wasting my time and money on this utter disgrace of a book.



2. this book is packed with info. some of it is relatively hard to get at (your eyes are likely to glaze over at the reams of essays formatted in a narrow, sans-serif OCR-esque font) but the content and data is pretty good. it looks very nice in your bookshelf, but when hitting it up for a re-read, you may find yourself cursing the designers' decisions to go with form over function, IMHO.



3. This book is to be considered a piece of historical evidence of the tendencies of thought of the new era. Whether you may find the concepts proposed not suitable, every prospective or practicing architect, designer or urban planner must be aware of the latest tendencies of thought in order to be the best-educated he/she can be.

   The Pearl River Delta investigation is impecable. For the "reasonably intelligent person" that wrote a comment above, it is a shame that you overlooked the whole analysis on shopping, perhaps because you are so immersed in it in the USA that you cannot see the forest for the trees.

   I agree that the language is dense and often martian-like. This is the case of the introductory essay "Telegram from nowhere". But read between the lines. Reading is re-reading said Joyce. You will find a very smart concept regarding the architecture built for the media.

   This book is all about cities in different parts in the world. It helps a lot if you are a culturally aware person. If you have had contact with diverse forms of living and thinking, may I highly suggest you get hold of this book. If you are not, you may either feel that the text is just wobbling on things you cannot be empathic with, or you may be on your way to becoming a more educated human being. And do not think by any means that this is a meek and mild pro-globalization text. This book is just rasing questions and proposing concepts, like all masterpiece limit themselves to do.




4. This book was a required textbook for an urban planning class I took at college. I was very disappointed with the book overall. The photographs were very nice, but the text was utterly confusing, and difficult to follow. I consider myself to be a reasonably intelligent person, but I could not grasp most of what the authors were trying to say. The only parts of the book I enjoyed was the sections on the United States, which covered urban sprawl, gangs in cities, generic, look-alike architecture, etc. The rest of the book left much to be desired. The other students in my urban planning class agreed with my opinion of the book. Nobody seemed to get much use out of it except for the professor.



5. I bought this book because of the Pearl River Delta Study. For me who actually grew up in that part of the world I wanted to see how these "foreigners" look at my home town. It gave me new insights on how to look at cities... in a different way.. in different eyes. To me it is valuable at least in this sense.

5 comments about Monuments: America's History in Art and Memory.

1. Judith Dupre's book is a keeper, a volume to be read and treasured for generations. It's for those with a relative who fought in World War II, and those who have visited Gettysburg, seen the Liberty Bell and marveled at Mount Rushmore.
   Ms. Dupre infuses major historical events with glowing new life. She fills her pages with interesting facts and profound truths, explaining, for instance, why the triumphant Indian Americans were not commemorated in the first 120 years after the Little Bighorn Battle in Montana. Other battles -- from Gettysburg, World War II, Korea -- yield important cemeteries. Ms. Dupre's presentations range from the familiar (Statue of Liberty) to the unfathomable (Saint-Gaudens's monument to Clover Adams in Washington's Rock Creek Cemetery.) In a book that easily stirs emotions her description of New York City prisoners burying the unclaimed bodies of convicts at Hart Island ("the marginalized are interred by the marginalized with dignity") is especially poignant.
   The book will be valued by those with connections to these sacred sites, but it belongs in the collections of all who are tuned into American history.



2. Bravo! MUCH MORE than a "coffee table" book! Dupré's thoroughly researched and cogently presented text outshines the fascinating graphics. "Monuments" taught me more than I had intended to learn about the subject, and made me realize memorials talk about history in an unique way. I would recommend this book to any and all readers, especially those interested in getting a new and intriguing take on presidential and military history.



3. What impressed me of this work is how well it was researched. It has many side stories. Names and dates are carefully reported. The linkages to similar memorials or concepts are included in shaded boxes as ancillary threads. Was also impressed on the timeline, that reveals how the event that is memorialized eventually came into fruition of an actual memorial.
   
   My only criticism is not clarifying the geographical location of the monument (it assumes the reader knows where it is).
   
   The bonus is including ample space on the mass-conscious inpromptu memorials, such as leaving teddy bears, flowers, notes on the side of a tragedy or catastrophic event. I would add to that the silent and passive solitary memorials left by people along roadsides, memorializing a traffic accident. Or even the placement of a geocache, a box in the woods containing a logbook, such as the one in Western Pennsylvania in remembrance of two teenagers killed ["In Memory Of Clairenda and Loretta" GCQHZP]
   
   On the discussion of people mourning by leaving items at places such as the Vietnam Memorial, Oklahoma City, Columbine, the author however missed to mention that the same people that visit such memorials can actually take an object that is laying there. The items left are considered as abbandoned property by the National Park Service for 30 days, and only thereafter picked up and inventorized into the national museum system. In the meantime, the same item can be picked up by visitors, and the memorial acts as an exchange place. ... very much like a geocache.



4. This fascinating and unusual book is beautifully produced- it would make an excellent gift. It's a kind of treasury of richly detailed visits to a wide variety of different kinds of monuments. Dupre describes each one historically, evoking the powerful emotions behind the monument or memorial so that the original need can be felt and understood. The book gives us access to the people who created these monuments, and for whom they were created. Scholarly and also profoundly intuitive, Judith Dupre understands that a monument is by definition a labor of love, and has given us one.



5. Judith's books are always enjoyable but there is something especially wonderful about this one. It isn't just history or architecture, she finds the heart of why we remember, the purpose of these places. The histories are told with sensitivity and care, and the dozens of people that inhabit the book are portrayed colorfully and with close observation of their humanity, something usual lacking in ordinary history books. Having been to Manzanar several times and wandered over its acres myself, her narrative touched me and brought alive the people and the time.
   
   I would recommend this book to anyone with even the slightest interest in the human side of history.

5 comments about Prefab.

1. I am using PREFAB to help me define differences in prefabrication techniques and this book didn't really help me. There is even a disclaimer attached to the book that states, "We admit to playing fast and loose with the concept of prefabrication here. Many of the houses presented in this book are not prefabricated in the strictest sense of the word. Not all were factory built and assembled. Some houses were built with prefabricated materials like aluminum siding." This gives some illegitimacy to the book. If a building featured in this book has aluminum siding as the only prefabricated piece, then brick suburban homes should be featured as well - at least for consistency.
   
   Saying that aluminum siding is prefab is like saying bricks or CMUs or door frames or sunscreens are all prefab as well. I personally think this statement is untrue. These items are merely standardized pieces to the puzzle - sunscreens put together do not make a building. Prefab is the process of assembling all these things into volumetric modules or panels (SIPs) offsite in a factory.
   
   I do however think the introduction and history were quite informative. Pretty pictures too.



2. The book is wel written and very beautifully photographed. The history is interesting, but would have liked to see more current info.



3. In PREFAB, author Allison Arieff presents an interesting overview of "prefabricated" buildings, past, present, and future. Yet, I would not recommend this book to average modular home consumers, as many of the projects described in PREFAB are highly customized, somewhat eccentric, and generally impractical for those looking to save time and money by utilizing prefab construction as opposed to regular, stick-built construction. Some of the buildings aren't even single-family dwellings, but apartment buildings. Nonetheless, PREFAB is a helpful resource for those who'd like to learn more about the history of prefabricated buildings, as well as the current state of affairs, and in which unusual directions the industry will be headed in the future.
   
   Arieff begins PREFAB with a lengthy (29-page) discussion of the history of prefabricated homes, starting with panelized wood homes in England and the US in 1624, through the American mobile home boom after WWII, and ending with the current state of the industry. The next three sections of the book are devoted to various modern prefab projects. The first, titled "Production," presents "a diverse group of well-designed houses and multi-family dwellings that are either in production, or poised to be." Of the three groups, "Production" is perhaps most relevant to the average consumer; it illustrates the sheer diversity of prefab homes that are available around the world. It also reflects how beautiful prefab homes can be, both inside and out. Next up is "Custom," an eclectic mix of "unique homes by architects less interested in the mass production of houses than in the aesthetic, environmental, and economic benefits of prefabrication." The buildings in this section are stunning - the Penthouse at Albert Court, which sells for $4 to $5 million, is my favorite. Finally, "Concept" features the strangest buildings of the bunch. According the Arieff, the concept buildings represent "a diverse array of virtual and conceptual prefab projects that employ everything from websites to neoprene in order to create the next generation of prefabricated housing." Experimental to the extreme, these plans seem geared towards architects, artists, and other design/construction professionals.
   
   For the beginner, PREFAB is an interesting and engaging introduction to the history of prefabricated housing. As my knowledge of construction and architecture is limited, I can't say whether students or professionals will find PREFAB especially enlightening. I found the author's writing to be crisp and captivating, and I thought there was a good balance of pictures and text. I would definitely recommend PREFAB to newbies who would like to know more about prefab housing; yet, I would direct those looking for a consumer or how-to guide to go elsewhere. Overall, an interesting read, but probably not for everyone (for example, I can see how pros might want additional pictures, larger graphics, and more detailed floor/elevation plans, especially given the book's high price tag).
   
   - Kelly Garbato



4. ok, if you're looking for more of a coffee table book than a serious research source. arieff does provide a brief history of some selected prefabricated ventures, but the other 3/4 of the book is of more modern attempts, all of which are not described or displayed as thoroughly as i had hoped. most of the designs are also of doubtful marketability, and the pompous attitudes of some of the designers is off-putting. some pretty pictures, however.



5. Let me make a simple observation, people by these type of books for the pictures. After all, a picture is worth a thousand words right? But flipping through this book gave me the impression that the authors wanted to explain in words rather than with pictures. It was "blah, blah, blah, blah, blah" when a few more photos would have been much better. Why describe with words???
   
   I liked "Prefab Modern" by Jill Herbers better because it has more designs. It actually had many of the same designers in Prefab but with more pictures, less words, and a floor plan which really helps you to conceptualize the designs. Not only that but the book by Jill Herbers is cheaper too...

2 comments about Rooms Outside the House: From Gazebos to Garden Rooms.

1. What beautiful photos and illustrations! There are many unusual ideas...saunas and studios as well as pool houses. I have a vivid imagination, so I had no trouble envisioning a lower budget version of these ideas. I think the visions are inspiring and can be adapted to fit your budget with a little ingenuity. If you don't have the space for 1000 square foot structure, adapt to 500 square feet! The pictures alone are worth the purchase of this book. Of particular interest to me was the music room...perfect for an artistic retreat!



2. If you are planning to entertain a cast of thousands (or at least a few hundred), own at least ten acres of land, and have unlimited funds (including hefty fees for architects and engineers), then this book offers a few good ideas. Unfortunately, I was looking for something more down to earth, such as ideas for a modest gazebo or shelter that would blend nicely into the back of my modest half acre piece of land - a place for thinking or reading or conversing with a few god friends, a place to escape the rain, or a place for star gazing. This book didn't even come close to my expectations.

5 comments about Lost New York, Expanded and Updated Edition.

1. The original version of Silver's ode to New York City's architectural ghosts was compiled almost forty years ago, so it's nice that this revised edition was released in 2000, with a ton of new photos and revised text. It definitely belongs on the bookshelf of anyone with an interest in the modern history of Manhattan. That said, the book is very poorly designed and would benefit from a total makeover. The photo size and placement follow no discernable grid or system, and the text and photos often don't match up, forcing the reader to flip back and forth. More annoyingly, there's no standard system for captioning or dating the photos, except for an "Illustrations and Sources" section at the back. So, I read this book with one finger permanently stuck in the back so I could flip back and forth to get a sense of the eras I was looking at -- very cumbersome. It also would have been really nice to have a map at the front with the photos matched to it. While the photos are obviously archival, the reproductions seem curiously flat and fuzzy. This may be due to the uncoated natural paper the book was printed on, but they would benefit from the contrast a bright white paper would provide as well as new scans and some careful retouching work. So, this is a neat book, but could become something really excellent in the hands of a good designer.



2. Mr. Silver has a poetic prose style, revealing a most poetic soul, and frames his message of architectural conservation and adaptation through a highly effective personal lens of incredulity and nostalgia, articulating what most readers subconsciously knew but probably never take the time to think about: that architecture is the most accesible and inescapable reminder of urban culture at a given moment; that while culture evolves and architecture becomes artifact, these artifacts can often continue - through thoughtful planning and incentives - to live and to serve without economic detriment to their owners; and that rapacious, self-serving obliteration of our architectural past is the obliteration of cultural evolution and memory.

   I would like to see Mr. Silver now produce a companion volume to LOST NEW YORK, a book about what has been saved.




3. IF the reviewer below is really Nathan Silver, I congratulate him on the shift of gears from his 1968 version of LOST NEW YORK to this one. (Even if it's not him, I congratulate him anyway.) The first edition was heavy on the preservation/conservation debate while this one is more reflective and personal. In both instances, however, Mr. Silver has made an incredible contribution to the study of New York history--not just its architecture, but to the thinking that went into the creation of these lost structures, and the lack of thinking that destroyed them.

   Like Jane Jacobs, Mr. Silver shares a passion for the city and how its monuments, public buildings and spaces, and private residences have a direct and fortifying effect on its citizens. The photographs are stunning, as is the quality of the printing. Mr. Silver's text is equally powerful and just as relevant. At times the effect of seeing these representations of a lost time, and reading about their ends, can be upsetting; the sense of loss is very powerful. But there is a point to all of it beyond the seeming nostalgia: we had better start appreciating those gems of the past that are still rooted in the schist of Manhattan before they wind up in the next edition of LOST NEW YORK.

   One last note: As rebuilding begins on the site of the World Trade Center (a part of lost New York that wasn't our fault), this book indirectly compels New Yorkers to participate in some forward-thinking. It makes one wonder, not only what was lost to us, but what will we give to future generations?

   Rocco Dormarunno,
   author of THE FIVE POINTS




4. The book Lost New York by Nathan Silver is one of the best photo and information books ever writen. Old photos and information on land marks in New York City which have been torn down. Shows you how buitiful a city is but also how little care some people can have for it's treasures



5. This wonderful book gives wonderful pictures and descriptions of lost buildings.

3 comments about Paris Then and Now (Then & Now).

1. Beautifully explained and portrayal of one of the world's finest city.
   I really enjoyed learning more about places I had visited while in Paris.



2. Anyone who has come to know and love central Paris--the 'theme park' areas that capture its historical essence--will find this book charmingly evocative. In the sense of being able to revisit those places, many of them typical tourist attractions, the book is satisfying. The problem of not duplicating the precise angle and POV of the original 'then' photographs, raised by another reviewer, is relatively trivial and technical. The 'now' shots capture their subjects well. No photographer will 'see' a scene, place or person the same way and from an aesthetic standpoint the 'now' photos are satisfying and professionally executed, and book production is first rate.
   If one had to carp, and that's what a review is for in part, one might wonder why the authors did not take the opportunity to broaden their canvases slightly to include 'then' paintings--such as the paintings executed from the balloon's-eye view conceived during the 1871 siege of the city (able to be seen today at the brilliant Le Bourget Musee de L'Air et de L'Espace) vs. 'now' photographs, for example to illustrate the notable Peripherique, and to compare previously fallow pieces of the city 'then' vs. their current situations, such as, for example, the stunning La Defense structures.
   All in all, however, for what it is, the book is pleasing and will bring back many happy memories to Francophiles. Of course there are innumerable books of photos covering Paris, and naturally there are favorite places not covered in this book or not handled the way the individual reader might like, but on the whole this is a workmanlike job that captures its subject competently.
   (Apologies to readers who will note, correctly, the absence of appropriate French accents in this review--not offered by Amazon's word processing system.)



3. 
   
   Paris is, I think, the second most beautiful city in the world (full disclosure: I live in Rome, which is tops in my book) and so I was eager to take a look at this book when I saw it at a friends' house.
   
   I was already familiar with the Then and Now series after receiving the Rome edition of the book for Christmas, and after seeing this book I can only conclude that what I had chalked up as weaknesses in the Rome book may just be faults in the series.
   
   The central idea for the book is charmingly simple: the left-hand pages feature old photos of some of Paris' best-known spots, and the right-hand side of each page is made up of modern shots of the same sites.
   
   The biggest problem is hard not to notice: the angles of the photos on the right are very often not taken from the same angle as the older images. I found this to be so puzzling as to be irritating. I think it shows a lack of planning on the part of the book's editors, and it also robs the reader of being able to make a complete comparison between the way things were and the way they are -- a process that is the book's very raison d'être.
   
   I admit my patience for such sloppiness had already been tried with the Rome book, but the sins seem even greater here.
   
   I also rue the absence of a table of contents listing the photographs in order, another weakness that now appears to be a characteristic of the series.
   
   I'm not sure how likely these issues are to be solved in future editions, since by my count nearly 30 photos would have to be re-shot in order to solve the largest problems. But if the editors would like to release a book that reaches this volume's potential, they'd better get snapping.