It is thousands of years old, and the same today as it has always been. The great traditional buildings of the past, the villages and tents and temples in which man feels at home, have always been made by people who were very close to the center of this way. It is not possible to make great buildings, or great towns, beautiful places, places where you feel yourself, places where you feel alive, except by following this way. And, as you will see, this way will lead anyone who looks for it to buildings which are themselves as ancient in their form as the trees and hills, and as our faces are.”The Timeless Way of Building is the introductory volume to Alexander’s other works, A Pattern Language and The Oregon Experiment, in the Center for Environmental Structure series.

    It covers strut-and-tie models, and presents the basic mechanics of structural concrete and methods for the design of individual members for bending, shear, torsion, and axial force.

    For the professional and the student it remains an unrivalled study of photo-journalism, a complete analysis of how photographs are taken, selected and edited for newspapers and magazines. As the former editor of the SUNDAY TIMES and THE TIMES, Harold Evans is uniquely qualified to take the reader behind the images that the press provide. Many celebrated photographers were interviewed for the book, including Henri Cartier-Bresson, Snowdon, Bert Hardy, Bill Brandt, Don McCullin, and Eugene Smith. Many more have acclaimed it -including Helmut Newton, Richard Avedon and Arnold Newman.

    

    

    Highwater--a renowned critic, author, and lecturer on art, theater, music, and dance--links the history of dance to cultural forces as diverse as Karl Marx and Elvis Presley. Beginning with the original, ritualistic, and primal forms of dance, he traces its decline into empty ceremonial forms while all along insisting that dance is a fundamental life impulse made visible in motion--a spontaneous transformation of experience into metaphoric meaning. Considering the historical and creative context from which dance emerged, Highwater goes on to point out the specific contributions and cultural influences of such 20th-century dance giants as Isadora Duncan, Twyla Tharp, Robert Wilson, George Balanchine, Martha Graham, Alwin Nikolais, Erick Hawkins, Jose Limon, Merce Cunningham, Meredith Monk, and Garth Fagan. Also examined are many newer artists, such as Bebe Miller and the Urban Bush Women.