Oka's books? The eminent American designers George Nelson suggested one answer when he wrote as follows in his foreword to the earlier book: "We have come a long, long way from the kind of thing so beautifully presented in this book. To suit the needs of super mass production, the traditional natural materials are too obstreperous...and one by one we have replaced them with the docile, predictable synthetics....What we have gained from these [new] materials and wonderfully complicated processes to make up for the general pollution, rush, crowding, noise, sickness, and slickness is a subject for other forums. But what we have lost for sure is what this book is all about: a once-common sense of fitness in the relationships between hand, material, use, and shape, and above all, a sense of delight in the look and feel of very ordinary, humble things. This book is thus...a totally unexpected monument to a culture, a way of life, a universal sensibility carried through all objects down to the smallest, most inconsequential, and ephemeral things."Another question, implicit throughout the book, has been put thus by Mr. Oka: "If the craftsmen and 'designers' of old Japan could create beauty with their materials, are we today to accept defeat when faced with ours?"But beyond all questions and words and theories there always remains the sheer visual appeal of the book's 244 photographs in matte gravure and full color. The book is indeed a feast for the eyes.

    

    Provocative exposition, encounter with energy, mass, motion, proportion, climate, curves of life, landscape, psychology of structure, urban planning. Clear, broad investigation into fundamentals of visual, constructive arts. 422 illus.

    

    The emphasis remains on establishing an accessible comprehension of fundamentals to facilitate using the method in research and/or to solve practical, existing problems. Contains a balanced treatment of the theory with a wide range of applications and examples from thermofluid mechanics, structures, heat transfer, elasticity and lubrication. This edition is completely updated with new problems and modern computer codes. The sections on fluid mechanics reflect extensive advances in recent years.

    He proclaimed his new design philosophy through a series of articles and books, including Die neue Typographie, published in Berlin in 1928. His international renown came largely as a result of his redesign of Penguin's entire series of paperback novels just after World War II. Any graphic designer practicing today owes a debt to Tschichold's innovation.Jan Tschichold: A Life in Typography offers a concise biography of Tschichold, accompanied by numerous examples of his vast body of work. It serves as an introduction to Tschichold for those who are unfamiliar with his influential style, yet for the experienced designer it is an excellent collection of the wide range of his designs. Ruari McLean's books on graphic design include Modern Book Design (1958) and Typographers on Type (1995). He is also the translator of Tschichold's The New Typography and the author of various books on Tschichold's work.

    This edition reflects the changes in design and construction practices, particularly in building codes and specifications. It covers materials, structures, soil mechanics, foundations and includes the International Building Code 2000.

    The purpose of this gathering was to exhibit and criticize the work of five architects--Eisenman, Graves, Gwathmey, Hejduk, and Meier--who constituted a New York school, and who are now among the most influential architects working today. The buildings shown here have more diversity than one might expect from a school, but share certain properties of form, scale, and treatment of material. Collectively, their work makes a modest claim: it is only architecture, not the salvation of man and the redemption of the earth. No matter how varied their individual theories and visions, all five architects simply share a passion for the art of architecture. Providing complete drawings and photographic documentation, this collection also includes a comparative critique by Kenneth Frampton, an Introduction by Colin Rowe that suggests a still broader context for the work as a whole, and two short texts in which individual positions are outlined. Now back in print, Five Architects serves as a reference to the early work of some of America's most important architects and provides us with a glimpse back at the direction of architecture as they saw it twenty years ago.