Fuller expresses what may well be his penultimate view of the human condition. Here, in a mood at once philosophical and involved, Mr. Fuller traces man's intellectual evolution and weighs his capability for survival on this magnificent craft, this Spaceship Earth, this superbly designed sphere of almost negligible dimension in the great vastness of space.Mr. Fuller is optimistic that man will survive and, through research and development and increased industrialization, generate wealth so rapidly that he can do very great things. But, he notes, there must be an enormous educational task successfully accomplished right now to convert man's tendency toward oblivion into a realization of his potential, to a universe-exploring advantage from this Spaceship Earth.It has been noted that Mr. Fuller spins ideas in clusters, and clusters of his ideas generate still other clusters. The concept spaceship earth is Mr. Fuller's, and though used by Barbara Ward as the title of a work of her own the idea was acknowledged by her there as deriving from Mr. Fuller. The brilliant syntheses of some fundamental Fuller principles given here makes of this book a microcosm of the Fuller system.

    The show celebrates design and architecture in all of its functional glory and accidental absurdity, with intriguing tales of both designers and the people impacted by their designs.Now, in The 99% Invisible City: A Field Guide to Hidden World of Everyday Design, host Roman Mars and coauthor Kurt Kohlstedt zoom in on the various elements that make our cities work, exploring the origins and other fascinating stories behind everything from power grids and fire escapes to drinking fountains and street signs. With deeply researched entries and beautiful line drawings throughout, The 99% Invisible City will captivate devoted fans of the show and anyone curious about design, urban environments, and the unsung marvels of the world around them.

    A. Rogers the Author of Nature Knows No Colour Line has engaged continuously in research on the Afrikan Race since 1915. Published himself his first book From Superman in 1917 after it was refused by establish Publishers He has since published 7 others good books about Afrikan People and their contribution to world civilization J.A. Rogers has left us a rich legacy Nature Knows No Colour Line is one of the legacies.

    This invasion of the world by what Marc Auge calls ‘non-space’ results in a profound alteration of awareness: something we perceive, but only in a partial and incoherent manner. Auge uses the concept of ‘supermodernity’ to describe the logic of these late-capitalist phenomena—a logic of excessive information and excessive space. In this fascinating and lucid essay he seeks to establish and intellectual armature for an anthropology of supermodernity. Starting with an attempt to disentangle anthropology from history, Auge goes on to map the distinction between place, encrusted with historical monuments and creative social life, and non-place, to which individuals are connected in a uniform manner and where no organic social life is possible.Unlike Baudelairean modernity, where old and new are interwoven, supermodernity is self-contained: from the motorway or aircraft, local or exotic particularities are presented two-dimensionally as a sort of theme-park spectacle. Auge does not suggest that supermodernity is all-encompassing: place still exist outside non-place and tend to reconstitute themselves inside it. But he argues powerfully that we are in transit through non-place for more and more of our time, as if between immense parentheses, and concludes that this new form of solitude should become the subject of an anthropology of its own.

    See how they effortlessly mix contemporary furniture with thrift-store finds, and learn all sorts of tricks for creating a stylish home no matter what the obstacles: seven children, small spaces, or a tiny budget. From toddler-friendly bedroom for triplets to a beach retreat for two twenty-somethings, from a New Jersey basement to a Palm Beach cabana, Home by Novogratz proves that good design is just a book away.

    In fact, prequel would be a better word for this new book, since it is aimed towards the novice designer. Whereas Sketching shows you how to draw various aspects of shape and form, and serves more as a reference book, The Basics explains things in more detail, taking the reader by the hand and guiding him step by step through all the various aspects of drawing that novice designers come up against.The Basics explains the rudiments of learning to draw both clearly and comprehensively, using step-by-step illustrations, examples, and strategies. You will learn to use and master the different techniques and also how to apply sketches in the design process.It is the perfect book for those just starting out in sketching, for the first years of art and design courses, and for those who wish to revise the basics of good sketching; it is a simple and efficient way of learning all you've ever wanted to know but have never had explained to you.Koos Eissen is an associate professor at Delft University of Technology in the Netherlands, where he is responsible for the freehand and digital drawing classes at the Faculty of Industrial Design Engineering.Roselien Steur lectures at the Royal Academy of Arts in The Hague and specialises in design sketching workshops for professionals.

    

    Most deal with questions of design in a wide range of areas, from architecture and furniture, to clothes and jewellery, pottery, plumbing, and printing; others are polemics on craft education and training, and on design in general. Loos, the great cultural reformer and moralist in the history of European architecture and design was always a 'revolutionary against the revolutionaries'. With his assault on Viennese arts and crafts and his conflict with bourgeois morality, he managed to offend the whole country. His 1908 essay 'Ornament and Crime', mocked by an age in love with its accessories, has come to be recognised as a seminal work in combating the aesthetic imperialism of the turn of the century. Today Loos is recognised as one of the great masters of modern architecture.

    Here is a clear and enthusiastic introduction to buildings methods from ancient times to the present day, including recent advances in science and technology that have had important effects on the planning and construction of buildings: improved materials (steel, concrete, plastics), progress in antiseismic designs, and the revolutionary changes in both architectural and structural design made possible by the computer.

    But can you make that trendy new lamp jibe with your grandmother's heirloom dresser?The fabulous Beekman Boys answer with a resounding "Yes!" in their new book, Beekman 1802 Style. Through more than 200 stunning photographs from Country Living magazine and never-before-seen images of the Beekman farmhouse, the boys use their city-turned-country-boy charm and style to help with all things home. Their unique home design tips and tricks for mixing high and low, East and West, indoors and outdoors, and traditional with modern will help you create a home that is inviting, warm, and--perhaps most important--fabulous.

    A selection from Geoffrey Jellicoe's "The Atlanta Historical Garden" is included.

    Now, in The View From The Studio Door, Orland turns his attention to broader issues that stand to either side of that artistic moment of truth.In a text marked by grace, brevity and humor, Orland argues that when it comes to art making, theory and practice are always intertwined. There are timeless philosophical questions (How do we make sense of the world?) that address the very nature of art making, as well as gritty real-world questions (Is there art after graduation?) that artists encounter the moment they’re off the starting blocks and producing work on a regular basis.Simply put, this is a book of practical philosophy. As a teacher and working artist himself, Orland brings authentic insight and encouragement to all those who face the challenge of making art in an uncertain world. The breadth of material covered is reflected in chapters that include Making Sense of the World, Art & Society, The Education of the Artist, Surviving Graduation, Making Art That Matters, The Artistic Community, and more.The View From The Studio Door is the perfect companion piece to Art & Fear, and will appeal to a similar (and already-established) audience of students, working artists, teachers and professionals. For students’ benefit, The View is also modestly priced, with wide page margins for easy note-taking and annotation.

    His distinctive brand of architecture, usually moulded around local building traditions (especially those of Kerela, his adopted home state in south India), is instantly identifiable and has, unsurprisingly, revolutionized traditional concepts of architecture in India. Baker's architecture is responsive, uses local materials and lays stress on low-cost design.This biograpy of Laurie Baker, like his work, is direct, simple and comprehensive; further embellished with sketches, plans, photographs and some of Baker's own writings, the book offers the professional architect view of the life, methods and thoughts of an unorthodox genius.

    Now Pollan turns his sharp insight to the craft of building, as he recounts the process of designing and constructing a small one-room structure on his rural Connecticut property--a place in which he hoped to read, write and daydream, built with his two own unhandy hands.Invoking the titans of architecture, literature and philosophy, from Vitrivius to Thoreau, from the Chinese masters of feng shui to the revolutionary Frank Lloyd Wright, Pollan brilliantly chronicles a realm of blueprints, joints and trusses as he peers into the ephemeral nature of "houseness" itself. From the spark of an idea to the search for a perfect site to the raising of a ridgepole, Pollan revels in the infinitely detailed, complex process of creating a finished structure. At once superbly written, informative and enormously entertaining, A Place of My Own is for anyone who has ever wondered how the walls around us take shape--and how we might shape them ourselves.A Place of My Own recounts his two-and-a-half-year journey of discovery in an absorbing narrative that deftly weaves the day-to-day work of design and building--from siting to blueprint, from the pouring of foundations to finish carpentry--with reflections on everything form the power of place to shape our lives to the question of what constitutes "real work" in a technological society.A book about craft that is itself beautifully crafted, linking the world of the body and material things with the realm of mind, heart, and spirit, A Place of My Own has received extraordinary praise.

    His book includes essays on Sudan, India, Cuba, Germany and California. In each piece, there is a central image as the key to unlocking the personality of a place.