4 comments about The Oregon Experiment (Center for Environmental Structure Series).

1. The good news is that this book is a short summary of what most people
   will find important when they apply patterns either in the field of architecture
   or in their own field of design. It provides insight into Alexander's theory
   of economics--a stance which caused him to be unfavorably labeled as a
   socialist when these ideas were taking form.
   
   Patterns, in this book, are almost a footnote to the broader ideas of
   design, of economics, and of socially coordinated construction that
   form the core of Alexander's exposition here. The economics form a
   compelling argument for a process of piecemeal growth. Alexander gives
   practical advice on how to administer the social process, including the
   creation of a community pattern board that oversees the introduction of
   new patterns into the community language, and the retirement of old
   ones. By putting the pattern mantra aside, this book helps the reader
   get beyond the point where they are looking for patterns in their own right
   to provide the answer to every design question, and pushes the reader
   to think at the level of the foundations.
   
   The bad news is that the book takes the reader into a couple of miscues.
   Alexander would later bitterly recant the role this book accords to the
   architect. Architects should be master builders rather than the font of
   design ideas. The architecture role emerged in the Oregon Experiment
   to lend the project an air of conventionality and credibility, a compromise
   that kept the project from achieving its goals.
   
   Current tidbits of retrospective literature try to make sense of the experiment;
   some claim it succeeded (in spite of those aspects Alexander felt were
   wrong-headed) and some claim it failed. Grabow's biography of
   Alexander (Christopher Alexander: The Search for a New Paradigm in
   Architecture) features some choice words about the miscues in this
   experiment. Taken with the retrospective Grabow brings us, this book
   provides a perspective on patterns that is completely absent from the
   other books in this series. Some of these, such as the foundations in
   economics, are there for the picking. To reap some of the other insights
   requires study that goes beyond casual reading, but such study is
   appropriate to the depth of insight it will afford, and you owe it to
   yourself to explore it. These insights are crucial for making patterns
   work in a practical way in a social setting.
   
   If you want to learn about patterns, and you want to start with an
   Alexandrian book, I think this is the one you start with. Get the big
   picture first, in the context of the underlying principles, and come
   back for the pattern details later in A Pattern Language, and for the
   artist's artistic exposition of his art in The Timeless Way of Building.



2. The Oregon Experiment comes from a time when Eugene, Oregon was a capital for social and community experiments in the US. It's a practical, brilliant, gentle, idealistic proposal, without peer in modern literature. There are a few papers on the experiment after twenty years, available on the web -- the experiment basically had the life bureaucratized out of it. But this book remains as a shining, solid proposal, which any participatory experiment should look over very closely.



3. The Oregon Experiment is one of a series of influential volumes on architecture and social design published by Christopher Alexander and his colleagues in the 1970s. While the most well-known volume in the series, A Pattern Language: Towns, Buildings, and Construction, develops general principles for the design of social spaces at all scales, The Oregon Experiment applies those principles to a specific case: the campus of the University of Oregon.

   If you are looking for an example of a specific campus plan, however, you will not find it here. Central to Alexander's approach is the notion that communities should not create fixed master plans, but rather should develop a common pattern language, and then apply it organically, in a piecemeal fashion, as needs arise. The book talks as much about this process of planning as it does about individual construction projects. Whenever a need arises (expansion of a building, addition of a door, creation of a green) people consult their pattern language and build something to suit the space and satisfy the need. Because everyone follows the agreed-upon language, the new parts harmonize with those that already exist (or replace earlier, poorly-designed structures).

   If you have enjoyed studying Alexander's patterns in A Pattern Language, you will find here a collection of new ones that are specific to a university setting, including "University Population," "University Shape and Diameter," "Departments of 400," "Local Administration," "Classroom Distribution," and about a dozen more. Although he clearly draws on ideas from British universities in many cases, he unaccountably does not include one of the fundamental features of the British model, namely the residential college of 500 (or so) within the larger institution. (Although he does include aspects of this pattern under the heading "Small Student Unions.") As always, Alexander's pattern descriptions are clear, blunt, and thought-provoking.

   The question that most readers will want to have answered is, "Does all this really work?" When the volume was written, of course, the process was just getting under way, and so we cannot know from this book alone whether everything described was successful or has been sustained over the long term. From what I've seen of campus master planning in public universities, it often turns out in the end to have less to do with creating good educational environments than it does with kowtowing to the local chamber of commerce and lining the pockets of already-rich trustees. But just because something is difficult doesn't mean it shouldn't be made the goal. If Alexander or someone at the University of Oregon were to produce a sequel, "The Oregon Experiment 25 Years On," I'm sure it would meet with a warm reception.




4. As a software designer and as somebody who lives and works in buildings in cities, I find the ideas in some of Alexander's other books on architecture and design - The Timeless Way of Building and A Pattern Language - very interesting and appealing. They are a brave attempt to point to a more human, community-oriented way of doing things.

   I had high hopes that The Oregon Experiment would describe a concrete example of whether these ideas worked when they were put into practice. It does nothing of the kind. It describes an interesting thought experiment in participatory design and tries to present this as a vindication of the Pattern Language concepts. But nowhere does it even mention whether the design it describes was ever actually implemented, much less whether it worked from the inhabitants' point of view.

   It is very easy for a design team to get carried away with what a great design they have on paper. I've done it loads of times. That enthusiasm tells us nothing about whether a design is actually going to be a success.

   I know Alexander later moved from academia and started trying to put his ideas into practice on actual building projects. A book on his real experiences and how well the original ideas stood up to the cold light of reality would be fascinating and important. The Oregon Experiment isn't that book.

2 comments about The Nature of Hope.

1. I received this book as a gift from a friend. My husband and I use it as part of our daily devotional together. Our hearts are touched by the beauty in the photographs and inspiring messages, which bring us closer to God. How God speaks to us through nature is truly amazing. We are currently ordering several more of these books to give to our children and dearest friends so they too can grasp how big God really is.



2. It was a privilege to work with Adrian Rogers before his passing on this book, along with photographer Tom Fox. I put my heart into it with the prayer that others would discover God's hope. This is a beautiful coffee table book that will bless whoever picks it up. Enjoy and may God bless you in the reading of it.

No comments about You Have Seen Their Faces.

2 comments about On the Couch: Collection.

1. I liked the pictures. It is really sensual. I don't like the cover. I prefer hardcover for this kind of books



2. Pictures were fantastic as far as I could see. Was a gift, but had to peruse it a bit of course before I wrapped it up. Was dissapointed that the book came with a crease throughout the corner of the whole book. It was packaged well, so I'm sure it happened prior to shipping. Was cheeper than new, but was still not happy.

1 comments about Growing Season: The Life of a Migrant Community.

1. This wonderful book is so needed in this era of immigrant-bashing.
   I discovered "Growing Season" after a segment of it was excerpted in "The Sun" magazine. It's such a pleasure to hear the stories of people from Latin America and those who work with them, and how the so-called "problem" or "invasion" of immigrants has actually provided benefits for countless people on both sides of the border.
   Citizens of the US, the world's superpower, should also keep in mind that it is policies that emanate from Wall Street and the Pentagon that have forced so many people to come here in the first place. We owe our Latin American brothers and sisters a warm welcome, even an apology, for the generations of exploiting their labor and resources (see books like "The Annexation of Mexico" by John Ross or "Turning the Tide" by Noam Chomsky").
   I'm going to buy an extra copy of this book and send it to Representative Tom Tancredo, one of this nation's leading demagogues on the issue of immigration.

No comments about 500 Digital Photography Hints, Tips, and Techniques: The Easy, All-In-One Guide to those Inside Secrets for Better Digital Photography.

2 comments about Cow Dogs: A Cowboy's Best Friend.

1. This book is a must for anyone who shares their life with a Border Collie or Cattle Dog. The photography is spectacular. You won't be disappointed.



2. Cow Dogs by master photographer David R. Stoecklein is a captivating treasury of full-color photographs featuring a cowboy's dog. Each page has a striking visual image of capable animals who are indispensable canine companions for working cowboys, accentuated with a tongue-in-cheek quote. A joy to page through especially for dog lovers, Cow Dogs is a unique and welcome addition to personal and community library photography collections -- as well as recommended browsing for dog lovers on or off of a cattle ranch.

2 comments about Small Pools.

1. This book was full of wonderful scenery but it was not helpful in providing ideas about how to landscape an exsisting site. This was more an armchair travel book, not helpful in designing our own space.



2. If you dream your swimming pool as a mediterranean paradise, well, this is the book to look for. Exquisite pictures expose exotic pools accompanied by dramatic views on mediterranean coasts. The author provides brief explanations on materials, landscapes and, best of all, square footage, which I find very helpful. I personally was hoping for tropical themes and landscapes, and even "smaller" pools in "smaller" patios/backyards. So, most of the scenes exposed in this book do not apply to my particular situation. However, if I was to mimic a mediterranean look for my pool or patio, I'd find this book quite inspirational.

   Thank You.

4 comments about Robert Capa: Photographs.

1. This is a beautiful book by one of the great photographers who shot his dramatic photos right at the frontline of wars. His years in Paris, his friendship and photos of the giants of European art and cultur reflects the recognition he received from his contemporaries. His tragic death in Vietnam was a great loss for everyone interested in his art!



2. Frank Capa (born Endre Friedmann in 1913) was known as the 'Greatest War-Photographer in the World" when he died in 1954. As a teen, he planned a career as a reporter. Journalsim, he thought, would enable him to combine his loves of politics and literature. In the spring of 1936, he adopted the name Robert Capa, the name of an alter ego, the imaginary character of a glamorous American photographer.
   
   He photographed five wars from '36 to '54. The first was the Spanish Civil War. He'd been sent to Madrid to photograph Juan de la Cierva who, in 1923, had invented a forerunner of the helicopter. He stayed on in Spain because he felt an affinity with the warmth, exuberance, and generosity of the Spanish people. He went to Barcelona, (a penpal in the Fifties came from that area, Sabadell, and was a mill worker who learned his English from American sailors and Frank Sinatra records.), Andalucia, and Cordoba.
   
   General Francisco Franco launched a civil war in July, 1936, which changed Spain forever. He had the courage of his convictions and his photos show a compassionate study of people under extreme stress. He was a photographer of people, which is the opposite of me, as I choose buildings, things, birs, animals, historic places and such for my amateur picture taking.
   
   Unlike his friend Ernest Hemingway, he never felt he had to prove his courage to himself or to anyone else. He was intent on making better pictures, at great risk to his safety. Unlike Hemingway, he was very much a gentleman of the old school, coming from Europe, and "gentlemen don't brag." He believed that one shouldn't tempt fate by bragging.
   
   On the battlefields of Spain, he learned that soldiers use theri terrible weapons of mass destruction only because they have been brainwashed into the ability to 'conceptualize' their victims not as individuals but as a category -- the 'enemy.'
   
   He died in Indochina when he stepped on aa nati-personnel land mine. He was buried by his mother in a Quaker cemetery instead of Arlington National Cemetery, which was an offer she refused.



3. Ordinary people caught under extraordinary circumstances are what give these images the power that they have and elicit pure empathy from the viewer. Robert Capa earned his place in photographic history and left behind a body of work for us to consider...



4. This book has some really amazing photography, they have a really powerful message. I like photos that make me feel something and Robert Capa's photos difinatly do that. Robert Capa was in the right place and the right time with alot of his photos. The only thing the book lacked i feel is more background on the photos.

5 comments about Plateau Light.

1. Not that more to say than the title... This book contains many great photos made by a master, and the print quality makes justice to them (well, to confirm another review, there is one image that went too far on the reds, and has a deceptive burnt look - while many are great, and the splitND use is far more unobtrusive than Rowell's eg, with due respect ;o).
   Page layout is more conservative than in other Muench books I have (I think to Primal Forces, great images but layout on the kitsch side), and that suits me well.



2. This book offers a breathtaking view of the Colorado plateau. The full-page color photos are so incredibly vivid they almost jump off the page. It really makes you feel like you are there.

   You get a look at towering mountains & magnificent nature made stone sculptures. Cascading waterfalls, meandering steams, peaceful snowscapes, brilliant autumn leaves, beautiful flowers & endless skies take your breath away.

   Muench is a master at capturing detail and light, and this setting shows off his talent to the maximum. A narrative by James Lawrence provides a history of the area and conveys the feelings inspired by this natural wonderland.

   Some images have small quotes & poems under them. In the back, each photo is shown in miniature with comments from photographer and technical details. This book provides a beautiful world to get lost in.




3. This is a gorgeous book of southwest photographs. It has many examples of how to take great photographs. An interesting feature is the photographers comments about each photograph, found in the back of the book. There are only a few flaws in my humble view. Some of the photographs were printed with very exagerated color saturation. This is painful in some cases. Another problem is Mr. Muench's use of a split density magenta filter for several of the photographs. He tries to give the scenes a warm glow but the magenta color looks totally fake, especially when one sees it only across the top of the photograph. Please throw that split density magenta filter away and let the southwest present its beauty naturally. Still a great and valuable book to own.



4. Besides the several landscape books from Muench, I have collected quite a few other landscape books from other famous photographers. By far, this is the one I like most (together with one by Apse called "New Zealand Landscape"). The photos in the book fully demonstrate that one can always breathe new life to old scenes with enough skill, perception and perseverence.



5. This is the first David Muench book that i've purchased and because of the beautiful photos inside it will not be my last.