The pieces in this volume show him to be at times playful, more serious at other, but writing always with the lightest of touches. He had the keenest of eyes for the 'infra-ordinary', the things we do every day - eating, sleeping, working - and the places we do them in without giving them a moment's thought. But behind the lightness and humour, there is also the sadness of a French Jewish boy who lost his parents in the Second World War and found comfort in the material world around him, and above all in writing.This volume contains a selection of Georges Perec's non-fiction works, along with a charming short story, 'The Winter Journey'. It also includes notes and an introduction describing Perec's life and career.

    Munari insisted that design be beautiful, functional and accessible, and this enlightening and highly entertaining book sets out his ideas about visual, graphic and industrial design and the role it plays in the objects we use everyday. Lamps, road signs, typography, posters, children's books, advertising, cars and chairs - these are just some of the subjects to which he turns his illuminating gaze.How do we see the world around us? The Penguin on Design series includes the works of creative thinkers whose writings on art, design and the media have changed our vision forever.Bruno Munari (1907-1998), born in Milan, was the enfant terrible of Italian art and design for most of the twentieth century, contributing to many fields of both visual (paint, sculpture, film, industrial design, graphics) and non-visual arts (literature, poetry). He was twice awarded the Compasso d'Oro design prize for excellence in his field.If you enjoyed Design as Art, you might like John Berger's Ways of Seeing, also available in Penguin Modern Classics.'One of the most influential designers of the twentieth century ... Munari has encouraged people to go beyond formal conventions and stereotypes by showing them how to widen their perceptual awareness'International Herald Tribune

    It brings to light virtually unknown Brutalist architectural treasures from across the former eastern bloc and other far flung parts of the world.It includes works by some of the best contemporary architects including Zaha Hadid and David Chipperfield as well as by some of the master architects of the 20th century including Le Corbusier, Mies van der Rohe, Frank Lloyd Wright, Louis Kahn, Paul Rudolph and Marcel Breuer.

    Whether you’re enraged by Ikea’s Verdanagate, want to know what the Beach Boys have in common with easy Jet or why it’s okay to like Comic Sans, Just My Type will have the answer. Learn why using upper case got a New Zealand health worker sacked. Refer to Prince in the Tafkap years as a Dingbat (that works on many levels). Spot where movies get their time periods wrong and don’t be duped by fake posters on eBay. Simon Garfield meets the people behind the typefaces and along the way learns why some fonts – like men – are from Mars and some are from Venus. From type on the high street and album covers, to the print in our homes and offices, Garfield is the font of all types of knowledge.

    What type of font to use? How big? How should those letters, words, and paragraphs be aligned, spaced, ordered, shaped, and otherwise manipulated? In this groundbreaking new primer, leading design educator and historian Ellen Lupton provides clear and concise guidance for anyone learning or brushing up on their typographic skills. Thinking with Type is divided into three sections: letter, text, and grid. Each section begins with an easy-to-grasp essay that reviews historical, technological, and theoretical concepts, and is then followed by a set of practical exercises that bring the material covered to life. Sections conclude with examples of work by leading practitioners that demonstrate creative possibilities (along with some classic no-no's to avoid).

    Soft City is about ease and comfort, where density has a human dimension, adapting to our ever-changing needs, nurturing relationships, and accommodating the pleasures of everyday life. How do we move from the current reality in most cites—separated uses and lengthy commutes in single-occupancy vehicles that drain human, environmental, and community resources—to support a soft city approach?   In Soft City David Sim, partner and creative director at Gehl, shows how this is possible, presenting ideas and graphic examples from around the globe. He draws from his vast design experience to make a case for a dense and diverse built environment at a human scale, which he presents through a series of observations of older and newer places, and a range of simple built phenomena, some traditional and some totally new inventions.   Sim shows that increasing density is not enough. The soft city must consider the organization and layout of the built environment for more fluid movement and comfort, a diversity of building types, and thoughtful design to ensure a sustainable urban environment and society.  Soft City begins with the big ideas of happiness and quality of life, and then shows how they are tied to the way we live. The heart of the book is highly visual and shows the building blocks for neighborhoods: building types and their organization and orientation; how we can get along as we get around a city; and living with the weather. As every citizen deals with the reality of a changing climate, Soft City explores how the built environment can adapt and respond.  Soft City offers inspiration, ideas, and guidance for anyone interested in city building. Sim shows how to make any city more efficient, more livable, and better connected to the environment.

    And yet all is not well, Richard Florida argues in The New Urban Crisis. Florida, one of the first scholars to anticipate this back-to-the-city movement in his groundbreaking The Rise of the Creative Class, demonstrates how the same forces that power the growth of the world's superstar cities also generate their vexing challenges: gentrification, unaffordability, segregation, and inequality. Meanwhile, many more cities still stagnate, and middle-class neighborhoods everywhere are disappearing. Our winner-take-all cities are just one manifestation of a profound crisis in today's urbanized knowledge economy. A bracingly original work of research and analysis, The New Urban Crisis offers a compelling diagnosis of our economic ills and a bold prescription for more inclusive cities capable of ensuring growth and prosperity for all.

    In Japan, one goes there to cleanse the soul. Bathing in Japan is about much more than cleanliness: it is about family and community. It is about being alone and contemplative, time to watch the moon rise above the garden.Along with sixty full-color illustrations of the light and airy baths themselves, The Japanese Bath, delves into the aesthetic of bathing Japanese style and the innate beauty of the steps surrounding the process. The authors explain how to create a Japanese bath in your own home. A Zen meditation, the Japanese bath, indeed, cleanses the soul, and one emerges refreshed, renewed, and serene.

    This movement stems not only from the realization that sprawl is ecologically and economically unsustainable but also from a growing awareness of sprawl's many victims: children, utterly dependent on parental transportation if they wish to escape the cul-de-sac; the elderly, warehoused in institutions once they lose their driver's licenses; the middle class, stuck in traffic for two or more hours each day.Founders of the Congress for the New Urbanism, Andres Duany and Elizabeth Plater-Zyberk are at the forefront of this movement, and in Suburban Nation they assess sprawl's costs to society, be they ecological, economic, aesthetic, or social. It is a lively, thorough, critical lament, and an entertaining lesson on the distinctions between postwar suburbia-characterized by housing clusters, strip shopping centers, office parks, and parking lots-and the traditional neighborhoods that were built as a matter of course until mid-century. It is an indictment of the entire development community, including governments, for the fact that America no longer builds towns. Most important, though, it is that rare book that also offers solutions.

    Presenting the foundational ideas of the Strong Towns movement he co-founded, Charles Marohn explains why cities of all sizes continue to struggle to meet their basic needs, and reveals the new paradigm that can solve this longstanding problem.Inside, you'll learn why inducing growth and development has been the conventional response to urban financial struggles--and why it just doesn't work. New development and high-risk investing don't generate enough wealth to support itself, and cities continue to struggle. Read this book to find out how cities large and small can focus on bottom-up investments to minimize risk and maximize their ability to strengthen the community financially and improve citizens' quality of life.Develop in-depth knowledge of the underlying logic behind the "traditional" search for never-ending urban growth Learn practical solutions for ameliorating financial struggles through low-risk investment and a grassroots focus Gain insights and tools that can stop the vicious cycle of budget shortfalls and unexpected downturns Become a part of the Strong Towns revolution by shifting the focus away from top-down growth toward rebuilding American prosperity Strong Towns acknowledges that there is a problem with the American approach to growth and shows community leaders a new way forward. The Strong Towns response is a revolution in how we assemble the places we live.

    They reveal an unexpected rebirth of imagination, an unknown burgeoning that took place from 1970 until 1990. Contrary to the twenties and thirties, no “school” or main trend emerges here. These buildings represent a chaotic impulse brought about by a decaying system. Their diversity announces the end of Soviet Union. Taking advantage of the collapsing monolithic structure, the holes of the widening net, architects revisited all the chronological periods and styles, going back to the roots or freely innovating. Some of the daring ones completed projects that the Constructivists would have dreamt of (Druzhba sanatorium), others expressed their imagination in an expressionist way (Tbilisi wedding palace). A summer camp, inspired by sketches of a prototype lunar base, lays claim to its suprematist influence (Promethee). Then comes the speaking architecture widespread in the last years of the USSR: a crematorium adorned with concrete flames (Kiev crematorium), a technological institute with a flying saucer crashed on the roof (Kiev institute), a political center watching you like a Big Brother (Kaliningrad House of Soviet). This puzzle of styles testifies to all the ideological dreams of the period, from the obsession with the cosmos to the rebirth of privacy and it also outlines the geography of the USSR, showing how local influences made their exotic twists before bringing the country to its end.

    Guns, which lead to so much death, work exactly as they’re designed to work. And every time we “improve” their design, they get better at killing. Facebook’s privacy settings, which have outed gay teens to their conservative parents, are working exactly as designed. Their “real names” iniative, which makes it easier for stalkers to re-find their victims, is working exactly as designed. Twitter’s toxicity and lack of civil discourse is working exactly as it’s designed to work.The world is working exactly as designed. And it’s not working very well. Which means we need to do a better job of designing it. Design is a craft with an amazing amount of power. The power to choose. The power to influence. As designers, we need to see ourselves as gatekeepers of what we are bringing into the world, and what we choose not to bring into the world. Design is a craft with responsibility. The responsibility to help create a better world for all.Design is also a craft with a lot of blood on its hands. Every cigarette ad is on us. Every gun is on us. Every ballot that a voter cannot understand is on us. Every time social network’s interface allows a stalker to find their victim, that’s on us. The monsters we unleash into the world will carry your name.This book will make you see that design is a political act. What we choose to design is a political act. Who we choose to work for is a political act. Who we choose to work with is a political act. And, most importantly, the people we’ve excluded from these decisions is the biggest (and stupidest) political act we’ve made as a society.If you’re a designer, this book might make you angry. It should make you angry. But it will also give you the tools you need to make better decisions. You will learn how to evaluate the potential benefits and harm of what you’re working on. You’ll learn how to present your concerns. You’ll learn the importance of building and working with diverse teams who can approach problems from multiple points-of-view. You’ll learn how to make a case using data and good storytelling. You’ll learn to say NO in a way that’ll make people listen. But mostly, this book will fill you with the confidence to do the job the way you always wanted to be able to do it. This book will help you understand your responsibilities.

    For an Architecture of Reality published in the year 1992. The author of this book is Michael Benedikt . We have a dedicated page displaying collection of Michael Benedikt books here. This is the Paperback version of the title "For an Architecture of Reality ". For an Architecture of Reality is currently Available with us.

    Pouring into developing-world “instant cities” like Dubai and Shenzhen, these urban newcomers confront a modern world cobbled together from fragments of a West they have never seen. Do these fantastical boomtowns, where blueprints spring to life overnight on virgin land, represent the dawning of a brave new world? Or is their vaunted newness a mirage?In a captivating blend of history and reportage, Daniel Brook travels to a series of major metropolitan hubs that were once themselves instant cities— St. Petersburg, Shanghai, and Mumbai—to watch their “dress rehearsals for the twenty-first century.” Understanding today’s emerging global order, he argues, requires comprehending the West’s profound and conflicted influence on developing-world cities over the centuries.In 1703, Tsar Peter the Great personally oversaw the construction of a new Russian capital, a “window on the West” carefully modeled on Amsterdam, that he believed would wrench Russia into the modern world. In the nineteenth century, Shanghai became the fastest-growing city on earth as it mushroomed into an English-speaking, Western-looking metropolis that just happened to be in the Far East. Meanwhile, Bombay, the cosmopolitan hub of the British Raj, morphed into a tropical London at the hands of its pith-helmeted imperialists.Juxtaposing the stories of the architects and authoritarians, the artists and revolutionaries who seized the reins to transform each of these precociously modern places into avatars of the global future, Brook demonstrates that the drive for modernization was initially conflated with wholesale Westernization. He shows, too, the ambiguous legacy of that emulation—the birth (and rebirth) of Chinese capitalism in Shanghai, the origins of Bollywood in Bombay’s American-style movie palaces, the combustible mix of revolutionary culture and politics that rocked the Russian capital—and how it may be transcended today.A fascinating, vivid look from the past out toward the horizon, A History of Future Cities is both a crucial reminder of globalization’s long march and an inspiring look into the possibilities of our Asian Century.

    It is rather Kenya Haras attempt to explore the essence of White, which he sees as being closely related to the origin of Japanese aesthetics – symbolising simplicity and subtlety. The central concepts discussed by Kenya Hara in this publication are emptiness and the absolute void. Kenya Hara also sees his work as a designer as a form of communication. Good communication has the distinction of being able to listen to each other, rather than to press one's opinion onto the opponent. Kenya Hara compares this form of communication with an “empty container”. In visual communication, there are equally signals whose signification is limited, as well as signals or symbols such as the cross or the red circle on the Japanese flag, which – like an “empty container” – permit every signification and do not limit imagination. Not alone the fact that the Japanese character for white forms a radical of the character for emptiness has prompted him the closely associate the color white with emptiness.