Most people don't want to think about what happens when the oil runs out (or becomes prohibitively expensive). This title shows how the inevitable and profound changes ahead can have a positive effect.

    Meanwhile, the town of Orme, Tennessee, must truck in water from Alabama because it has literally run out.   Robert Glennon captures the irony—and tragedy—of America’s water crisis in a book that is both frightening and wickedly comical. From manufactured snow for tourists in Atlanta to trillions of gallons of water flushed down the toilet each year, Unquenchable reveals the heady extravagances and everyday inefficiencies that are sucking the nation dry.   The looming catastrophe remains hidden as government diverts supplies from one area to another to keep water flowing from the tap. But sooner rather than later, the shell game has to end. And when it does, shortages will threaten not only the environment, but every aspect of American life: we face shuttered power plants and jobless workers, decimated fi sheries and contaminated drinking water.   We can’t engineer our way out of the problem, either with traditional fixes or zany schemes to tow icebergs from Alaska. In fact, new demands for water, particularly the enormous supply needed for ethanol and energy production, will only worsen the crisis. America must make hard choices—and Glennon’s answers are fittingly provocative. He proposes market-based solutions that value water as both a commodity and a fundamental human right.   One truth runs throughout Unquenchable: only when we recognize water’s worth will we begin to conserve it.

    The original mosaics (dating from as early as 1904), displaying a variety of serif and sans serif letters and decorative elements, were supplemented by signs in terracotta and cut stone. Over the years, enamel signs identifying stations and warning riders not to spit, smoke, or cross the tracks were added to the mix. Efforts to untangle this visual mess began in the mid-1960s, when the city transit authority hired the design firm Unimark International to create a clear and consistent sign system. We can see the results today in the white-on-black signs throughout the subway system, displaying station names, directions, and instructions in crisp Helvetica. This book tells the story of how typographic order triumphed over chaos.The process didn't go smoothly or quickly. At one point New York Times architecture writer Paul Goldberger declared that the signs were so confusing one almost wished that they weren't there at all. Legend has it that Helvetica came in and vanquished the competition. Paul Shaw shows that it didn't happen that way--that, in fact, for various reasons (expense, the limitations of the transit authority sign shop), the typeface overhaul of the 1960s began not with Helvetica but with its forebear, Standard (AKA Akzidenz Grotesk). It wasn't until the 1980s and 1990s that Helvetica became ubiquitous. Shaw describes the slow typographic changeover (supplementing his text with more than 250 images--photographs, sketches, type samples, and documents). He places this signage evolution in the context of the history of the New York City subway system, of 1960s transportation signage, of Unimark International, and of Helvetica itself.