Archigram

Crompton,

Edited by Peter Cook; supported

by Warren
David Greene, Ron Herron and Michael Webb

Chalk,

Dennis

The book 'Archigram' is a collective publication of a series of projects undertaken over

the last twelve years by a group of architects who graduated around '1960 and who have
since become known as the Archigram group. Their projects have challenged the
permanency of conventional architecture, substituting a brand of architecture which is
dynamic, expendable, instant, plug-in, open-ended,
to use some of their own
adjectives. Clearly their ideas are in tune with other contemporary movements in pop
music, entertainment and fashion.
There is an unmistakable drift in their work from an early concentration on
throw-away technology which combined the images of mass marketing and space comics,
towards a greater concern for people and a flexible architecture to match widely differing
and changing lifestyles, as well as a response to ecological matters expressed through
proposals for semi-underground cities and on-tap electronic services hidden in the
countryside.
It would not be difficult to criticise the Archigram movement; to accuse it of being
trendy, over zealous, naive, biased towards preconceptions, even of being out-of-date; it is
all of these at some point in the story. But if one is honest and if one looks closely at the
philosophy and images they are not so fantastic or way out. Often they reflect and
perhaps influence what actually happens, whether it is a growing desire for individuality
in suburbia, or the high technology hardware of the space programme or oil exploration,
or the glamour buildings of the Expos or Olympic cities; or the T.v. screens inside the
proposed parliament building with its space frame roof, or the rapidly developing
electronic communications systems, luxury entertainment centres (one designed by the
authors) or pop festivals and the camping/caravan/boating boom.
The ring of untruth about the book is that the Archigram ideas always contain a
feeling of perhaps unreal optimism, that everything is beautiful, switched-on, clean,
positive and tolerant. The harsher realities of life to do with uoderprivilege, politics and
money are not part of the scene,
but then, is it intended to be a total philosophy?
The reader must make his own mind up.
Meanwhile the group have been and still are enjoying themselves. The style of the book is
fluent and absorbing once the Archigram language is accepted, and the illustrations i\re
fascinating and impeccably produced either as drawings, photo-montage or sometime
vague graphic images. The message is essentially visual and a good balance is struck
between illustrations and the text, which itself should not be ignored since it does contain
some sound intellectual arguments in places.
But it is the obvious sense of optimism and liberation from orthodoxy that accounts
for the very real enthusiasm and interest which many of the brightest students of design
and architecture have shown and continue to show in Archigram. There is nothing sinister

or dangerous about this enthusiasm, most young designers can take it, broaden their
minds and probably leave it eventually. Its greatest benefit and the main reason why it is
an important book for a design department to possess is because it has the power to free
up the imagination of would-be designers; and inventiveness and a flexible imagination are
without doubt the essential talents which such persons will need.

The arresting title and picture cover of the Schools Council publication under review
make an immediate impact. The purpose of the booklet is to alert teachers to the
potential of museums as places of education and custodians of an immense range of
resources. It complements a more modest D.E.S. publication of 1971 which looked
closely at provision in particular museums in London and the provinces.
Like Henry Ford who said "History is bunk" and yet devoted part of his personal
fortune to the establishment of the famous open air museum at Dearborn, many sceptics
in our own day have come to have a keen appreciation of visible evidence of the past.
There has, for example, been a boom in industrial archaeology and an effort to rescue or
reproduce, before the arrival of the bulldozer, artefacts associated with the first industrial
revolution. New museums have come into being, open air museums, craft museums and
neighbourhood museums. Here, as in older institutions, imaginative arrangement and
displays have transformed the former image.
Through their range of educational services including Saturday morning clubs many
museums have brought the young to appreciate real things as distinct from words and
reproductions. As Molly Harrison, former curator of the Geffrye Museum once wrote,
"For most people 'seeing is believing' and handling even more so." Work in museums can
give children a new dimension, an awareness of size or texture, of relationships and
associations. It can also foster insights, an understanding, for example, of hardships which
were endured by people of the past. As a form of field work museum studies can
strengthen the link with the locality and help to combat the rootlessness in modern
society.
Implicitly Pterodactyls and Old Lace stresses the importance of museum exploration
at the primary school level. There is, however, ample scope for individual or group
investigation at the secondary stage, particularly with the trend towards team teaching
and integration. Essentially intending teachers. need themselves to have experienced
learning by museum work. Thereafter, as the publication suggests, teachers' centres
should afford a range of information. They should also provide opportunities for
interchange between staffs of museums and schools so that the former can reassess their
techniques in the light of changing educational practice and the latter can exploit more
fully the resources which are available.

As a university teacher of sociology, I want to use film more in my teaching and to

encourage others to do so as well. Film can teach people literally to see social
relationships and situations by trying to record them. I have cheap and simple cameras,
inexpensive film, but my colleagues and my students (and indeed even myself) are
inhibited by fear. .... They don't understand cameras and films seems frightening. People
are even worse. I've been looking for a medicine for us all, a constructive tranquilliser and
in this book I've found it. It takes nothing for granted, makes suggestions as to where to
look, and what apparatus to point in what direction. The first piece of apparatus
described is a Kodak Brownie - great! - and there are pictures to show what has been
done with it. The books is incidentally very well illustrated - it doesn't tell you what to
do but very gently leads you to deciding for yourself.
Having spent two years trying to persuade sophisticated university students to record
aspects of their lives visually, I realise I talked too much - Keith Kennedy takes his
trainee typists out to re-enact and to film their arrival at college on the second class. The
book suggests ways that making and showing films and photographs can help in teaching
history, geography, literature and even in education.
The book is full of ideas, it has a more technical companion volume, a useful list of
addresses and a list for further reading. If you don't feel like reading it yourselr, just give it
to the kids to look at and let them stimulate you. It's a revelation.- and I chose the word
carefully.

The Johns Hopkins studies in nineteenth century architecture are well on the way to
becoming one of the leading international sources of information on this central and
formative period of architecture. It was a period in which architects not only learned to
use an unprecedented range of new techniques to satisfy an equally unprecedented range
of new demands, but one in which they also developed a capacity to express the
contemporary spirit of the age in a remarkable way. Yet the nineteenth century has
received little attention from architectural historians and it is remarkably good fortune
that the Johns Hopkins series not only fills this major gap but that it does it so well.
The present volume is particularly valuable in that it reviews the work of a highly
influential yet little known English architect - Baillie Scott. Scott specialised in designing
not only small houses with outstanding success but also their interiors and, not
infrequently, their gardens as well.
His influence was astonishing. The book contains abundant illustrations of countless
English small country houses designed by Scott and his associates from the 1880s through

almost to the 1920s. They form a guide to what many observers would now define as the
typical English residential style, with their timbered facades, their profusion of richly
decorated gables, their roof slopes, often almost reaching the ground. Inside they are
characterised by the skilful use of panelling and carving, their walls decorated with papers
and hanging in the Morris tradition and with a profusion of bays, alcoves and windows
that contrive to give every part of the house its own unique and even secret character.
Baillie Scott was not only a pion~er of modern architecture, but also a major figure in
the acceptance and development of the Art and Craft Movement. He brought together the
work of men such as Pugin, Ruskin, Morris and many others and, with other younger
architects, created a new and immensely influential style that achieved rapid acceptance
not only in Britain but also in the United States, Germany and Austria.
It is disappointing that so central a figure can have been so neglected. In part this may
spring from the destruction of Baillie Scott's London office in the second world war
when all his records, drawings and papers were lost. But now Dr. Kornwolf has gone a
very long way to address the balance. He has not only reminded us of Baillie Scott's
work, his numerous publications and the revolutionary nature of his ideas but he has also
alerted us to his context by drawing attention to Scott's link with contemporaries such as
Frank Lloyd Wright, Loos, Hoffman and others. He also makes clear the connections that
exist between Scott's work and those who came after him, notable figures of the
subsequent generation including Gropius, Mies van der Rohe and Ie Corbusier.
This remarkable volume beautifully illustrated and attractively presented runs to
almost 600 pages. It is likely to form a central feature npt only of architectural libraries
but also of the literature of arts and crafts. It is certainly a compendium that cannot be
ignored and we are enormously in Dr. Kornwolfs debt for the scholarship and skill that
he has devoted to it.

To nearly all children, except a handful who have inside knowledge, architecture is
about the appearance of buildings, and the architect's job consists of drawing elevations
and plans. And yet, in their own homes and schools, the same children are very aware of
the importance of other aspects of buildings, such as ventilation, condensation, warmth
and central heating, artificial and natural lighting, noise and sound control. Architecture
and Interior Environment
is about all these things, how each one when properly
considered helps to create conditions inside buildings which are comfortable to the
occupants regardless of outside conditions.
However, the introduction and conclusion go beyond this theme and lay stress on the
very delicate balancing act which is being performed between our survival capability, the
resources available to us and the ever fluctuating conditions on earth, which are now in
danger of deteriorating due to our very presence. But let us hope that buildings remain

shelters from the natural environment we are used to, rather than 'life support systems' to
protect us from hostile self-created conditions; by no means a fantasy of the author! The
links between the ecology crisis and building design do exist, but I don't think that the
few opinions expressed in the book help to clarify the nature of these links.
However the bulk of the book is concerned directly with buildings and their
interaction with people through the physical conditions inside them. The completeness
and sequence of the discussion of the various factors involved, air, heat, light and sound is
adequate as an introduction to the subject, although one or two points need clarifying.
The chapter on water is strictiy out of context; humidity could have been included in the
discussion of air and temperature, but the supply of fresh water and waste disposal is
really one of another group of input-output systems, like food and energy, which are not
considered.
The way in which each factor is treated is similar and also logical. There is a brief
description of the physics involved, written in plain language with plenty of attractive
illustrations, and leaning on commonsense rather than prior science knowledge. The
physical properties of air, heat light and sound are then used to describe their resultant
effects on building interiors. In order to exemplify the physics and building performance
many projects are suggested which can be simply carried out by teacher or pupil, without
access to special equipment. Indeed, the front cover sub-title is 'A book of projects for
young adults.'
Because of the directness of the presentation, most if not all of the contents could be
understood by final year juniors. But because the subject is a mixture of science,
technology ,art and human studies, it is difficult to foresee where and how it will be used
in secondary schools where it belongs, except by enthusiasts ofinterdisciplinary teaching.
The best compromise slot would be in a general science course, if the exam syllabus
permits, where it would reinforce principles as well as explain much about the real
everyday world. For any fifteen-year-old contemplating engineering or architecture as a
career, it would be a useful book to test his interest in the subject, but it is a pity that
there are no suggestions for further reading to encourage the next steps.
'Architecture and Environment' is part of a trend away from a situation where the
facts of everyday living are completely ignored by the formal education system. At
present only a very small group of people come to understand this particular area of
knowledge, and the large majority in their later life learn by experience to adjust their
heating systems, control ventilation, arrange lighting and so on, in total ignorance of the
physical facts of their man-made environment. For this reason alone Forrest Wilson's
book is very welcome.

This book is based on the author's experience in an American city school in teaching
some of the principles of architecture to a range of classes equivalent to our infants and

juniors. The programme of work which was undertaken must have been a unique and
courageous attempt to introduce those subtle concepts relating to subjective visual
appreciation and experience of buildings, which are often not nearly so well taught in
many schools of architecture.
The evidence presented in the text and numerous illustrations suggests that the
perceptual skills of these young children were stimulated to the point of understanding,
and learning attitudes were developed. It is doubtful, however, if these new insights will
retain their strength through the years to provide a group of people capable of informed
criticism of the built environment; unless, that is, major efforts are made to provide
follow-up studies. If development of visual skills remains confined within pure and fine
art teaching and craftwork then the real world will not benefit from the efforts of George
Trogler. Also it is obvious that the author is not typical of art teachers, in that he has a
rare intuitive and rational mastery of what might be considered a fringe subject by this
group. One gets the impression that he is a very talented teacher and doubts arise that
possibly the programme would not be done so well by others; let us hope that this is not
so.
His talents are demonstrated by the extremely thorough and yet flexible manner in
which he has organised and carried out his programme. He left no stones unturned in his
use of resources, materials and space, not only in the classrooms but anywhere in the city
environment where there was a lesson to be learned. In addition to a full description of
this, there is a bibliography, lists of building toys and kits, films, useful commercial
contacts and headings for filing systems. Not all of these are useful in this country.
The programme divides into two main sections, the first dealing with the various
aspects of architectural space, how it is manipulated and how it is experienced and
evaluated, and the second is a development of the basic methods which technically are
used to construct space. There is a further section headed 'appreciation' which is a brief
introduction to functional aspects and styles of architecture, but this is very limited.
The author frequently detaches himself from his obvious involvement with the details
of the different exercises to comment on objectives, child attitudes, progress and the like.
Well earned credit must go to Marjorie Pickens who contributes most of the
photographs which provide a complete record of what went on in the classroom and
elsewhere. They are all delightful pictures of children taking part in discussions, making
models, drawing and experimenting with materials. The photographs occupy at least half
the pages and their captions are written so that they summarize the text.
Finally it should be stressed that this a teacher's book, a guide to organising a learning
programme, the essence of which is discovery by the individual child.

It is possible to criticise this book for trying to do too much. The result is that some of
the information, particularly on the care and sharpening of tools, is superficial. That part
of the sculptor's craft alone could fill a book.

This is part of a wider criticism that the author does not seem quite clear for whom
the book is intended. Much of it is of an appropriate level of a serious student of
sculpture but the references to work in schools and some of the elementary points made
suggest that a wider readership is sought.
In spite of the imperfections noted the book does deserve wide attention. All those
who have been encouraged to try some elementary sculpture and who want to progress
beyond the usual 'interesting form', will find it most helpful. The early chapters on
'Designing' and 'Carving the Block', are full of good sound advice, stated in a clear
straight-forward way.
Above all the book makes the reader want to sculpt. Robert Dawson is obviously not
only a very able sculptor but an enthusiast for carving. I share his regret that the time
consuming nature of carving prevents many people from practising it. Yet increased
leisure does offer the time necessary and it is hoped that this book will encourage more
people to use the time to discover and share the great pleasure that the development of
carving skill can give.

Since the halcyon days of the Bauhaus - the famous school of art and design directed
by Walter Gropius in Germany in the 1920's and early 1930's - art educators have
tended to strive for a prescriptive pedagogy based in part, if not entirely, upon that of the
Bauhaus teachers, and such a method of teaching and learning does not always adapt
itself well in another ethos. One might ask, of course: Can art teaching be stereotyped? Is
it possible to conduct courses in colour theory, drawing, design or any aspect of the visual
arts that are repeated ad nauseum even though student groups change and individual
needs differ? Apparently Wucius Wong thinks it is and actually does so for his book,
based on a twelve-week course in Design for interested amateurs - a course that is meant
to develop visual logic and understanding of design elements and their adaptation in
design work - is pure prescription in a 'Foundation Course' sense. His design exercises are
designed to ensure success, which is not a bad thing in itself if it develops personal
confidence and initiative in the pursuance of design problems and their solution in greater
depth, but this approach is akin to that method of learning mathematics which demanded
the endless chanting of tables in which the participant so easily became an unthinking
puppet. This leads me to warn the reader to use the book with caution.
Wong concentrates on a fairly narrow theme and this lends strength to his work. He
deals with the basics of repetition, structure, graduation, texture, etc., in a simple,
straight-forward way that is easy to comprehend and is to be complemented on his
thoroughness in this respect. His black and white illustrative material is used profusely
but tends to demonstrate
an" overall sameness in his students' work: a closeness of

identity that is not surprising if the prescriptive undertones are noted. This is an obvious
weakness. It shows that individual expression and imagination can be chanelled all too
easily into the boring or stereotyped answer. In fairness to the author, however, and
regardless of my critical view, I intend to purchase this volume for use with students. It
should stimulate discussion as well as extending their thinking and critical awareness in an
interesting area of art and design, and will lead them to think carefully about their own
curriculum planning in schools.

"Because of its obvious connection with modern life, the internal combustion engine
test bed is attractive to most pupils". This is just one of the reasons why engine test beds
should find their way into schools. The author could well have included "teachers", for
many of us alongside our pupils would enjoy an excuse to dabble with engines in the
laboratory. To those science teachers whose funds are limited, or who have doubts about
their own practical ability to make an engine test bed that will work, this excellent
booklet will enable them to realise that long-standing ambition.
Section 2 of the handbook describes in sufficient but concise detail how to build the
Project Technology Test Bed using a lawn mower engine and an alternator within a
modest budget of 50 (in 1972 !). The text is amply illustrated with photographs and
sketches, and working drawings of all the principal components are provided in both
imperial and metric units in a convenient pull-out section. The reader will avoid much
page-turning if he spreads out the drawings in front of him whilst digesting the
instructions. Especially useful is the page giving Sources of Components which will save
much laborious searching in catalogues.
Section 1 of the handbook reviews the general principles of engine testbeds; briefly
mentions some industrial applications; and enumerates in some detail the different
methods of measuring and absorbing power output. Curiously, any discussion on
rotational speed measurement is omitted at this point. Indeed, I would have welcomed a
much deeper treatment of engine testing in Section 1 and perhaps Project Technology
could have co-ordinated to advantage their own experiences with those of the
manufacturers of both the industrial prototype test sets and other model sets designed for
schools and colleges.
Nevertheless, Project Technology deserve congratulations for presenting so much of
Mr. Robin Hoare's valuable development work between the covers of this compact
booklet which, for 45p, is excellent value for money.

A Basic Course in Design -

Introduction

to Drawing and Painting, Ray

Prokaska
London:

Van Nostrand Reinhold, 4.50

An updated and expensive (I would think) 'how to draw and paint' book. Its
monumental scale and content should suit all who crave after Americanisms. The simple,
clear layout provides a good opportunity; this is sadly misused making the whole a trifle
gaudy and insensitive.
Ray Prokaska offers his lecture notes from Washington and Lee University as a basis
for an introduction to the uninitiated in art. Chapters on Geometric Structure of Form,
Gesture Drawing, Interpreting Real Objects, and a Student Critique give an impression of
complicated language but prove to be lacking in depth. Truly it is only the language that
is complicated but I do not see the content achieving the author's intention of
'establishing a rapport between the student reader and the professional'.
The expectations of the American system where the place of art education inside the
curriculum is less defined, reflect the basic needs of this book. It does, however, enter a
different climate in Britain, and one I feel that has not been entirely understood by the
author. Structure within a basic design course could not be condemned, but the
recommendations for the programmed learning of an individual creative process seems
somewhat unjustifiable.
R on G eorg e

This superb pictorial exhibition of the work of 33 experts from all fields of Textile Art
is presented as clear, detailed photographs (loa black and white and 8 colour), each of
which is accompanied by concise notes explaining techniques and colours used and
stitches incorporated together with the source of inspiration and the completed effect
that the embroiderer, weaver, dyer, knotter, or whatever, was trying to achieve.
The teacher will find this book to be a valuable asset when she requires a
concentration of finished examples with which to stimulate her class.
It is a great pity that not more of the photographs were printed in colour as colour
concepts are often difficult for children to grasp. The book concludes with brief notes on
the experience and achievements of each of the artists.

This is a basic subject in a more varied form than usual, showing many canvas stitches.
It is a cyclostyled craft in a new dimension.

The book shows examples of the original craft, namely the Syon Cope but unless this
has actually been seen, it is easy to pass by. Colour would have helped here and
throughout the book to make the subject much more interesting. Much of the detail and
beauty of the cushion samples in the chapter written for the real beginner is lost because
black and white does not do justice to them.
The free designs are well constructed on paper but of course become far too rigid
when worked on counted thread and lose their appeal. Stitch diagrams are large and basic
information is clear but there is not much to attract the beginner to further studies, for
later chapters become more formidable.
This is a well planned book, tracing the subject of canvas work from its conception to
its completion with relevant details on finishing and mounting. In fact it covers a wide
range of work and is more than a reference book because it covers all aspects of the craft.

This is a book written from the craft, design angle, using a variety of methods to
convey this. The book would be of use particularly to those teaching younger children or
just for teacher reference. There is a wide range of illustrations within the text varying
from those worked by junior children to a mature student. The text has obviously been
written for an adult to read as there are lengthy sentences and some obscure meanings
and some of the ideas are difficult to follow.
This is not really a needlework book as such, because there is a great deal of emphasis
on the use of adhesive and not stitchery. Compared with the number of illustrations there
is not a proportionate amount of text. There are interesting illustrations of media such as
bottle tops, foil and wood but it is difficult to see how the various completed collages are
arrived at, and many would require specialist treatment such as is not generally available
in the needlework room in order to achieve the result.
The lack of colour makes it difficult to see the designs illustrated in shades and tones.
Finished work does not always bear a title.
The section on fabric printing seems rather irrelevant to collage work.

This book covers a wide range of work from basic honeycombing to free design. There
is not enough detail from the beginning for it to be 3 complete guide, for one would need
to be really accomplished to go on to carry out the ideas suggested at the end of the
book. But for those already competent in the subject there are some quite good ideas,

especially the sections dealing with smocking on different fabrics such as knitwear, and
the suggestions that pin tucks can be effectively used as a basis for smocking. It is
assumed, however, that the method of insertion of smocking is straightforward, and that
the reader could apply the petals to the panel in the 'Flower garden' without specific
instruction. The whole subject is dealt with so quickly that quite important points are
dismissed in a few paragraphs. Some of the illustrations are very beautiful but are out of
context and too advanced.
This is a student reference book rather than one for general use as it could be
offputting otherwise. It could be stimulating to the experienced who would be
encouraged to tackle more exciting and varied use of smocking in free embroidery or to
experiment with the practical uses of traditional smocking.

This is written as a textbook not for class reference but for teachers in Junior and
Middle schools. The book lists sources of inspiration in Line and Point but the actual
progression to achievement of the design would not be easy for anyone to follow without
previous experience. Of course it is much easier for a teacher to demonstrate this subject
than for it to be explained in a textbook.
Most of the illustrations are from Junior -schools or they have been carried out by
accomplished needlewomen and they are not always in keeping with the text. There are
few coloured plates and the section on colour is especially difficult to visualise in black
and white.
The fact that some of the designs do not appear to have been worked in stitchery but
have been built up by using adhesives suggests that this is a book which is valuable to the
Art and Craft teacher rather than to the teacher of Embroidery. The standard of work
throughout the book is very variable. Basic designs alternate with more advanced work
and there appears to be no link between them.
Perhaps one of the most useful sections is the one titled 'Adapting a design from a
photograph or object' because it shows the scope of sources of inspiration in our
everyday life.
Primarily then, this is a book to give ideas to the teacher who must then decide on her
own way of using the inspiration.

This is yet another of the excellent Batsford books that examine new developments in
art in a way that explains without condescension and goes on to present the best of the
current work in the field under review. Above all they bring the reader to the point where
he may participate in the action.

Introducing Op Art does all these things in full measure. It explores the world of visual
irritation in a way that commands attention. Few readers, however experienced, will fail
to be dazzled, deluded, ensnared or distracted in new ways by this exposition of a
fascinating art form. In doing so they will also learn of the sensory and emotional
mechanisms that allow it to obtain its response. Most importantly they will be alerted to
the recurring and skilful use of 'op art' that has occurred in mainstream art through the
centuries.
But perhaps the best part of the book is the comprehensive group of projects wherein
the reader may himself experience 'op art'. With the instruction and information given
readers may develop their own compositions ranging from simple vertical devices to
advanced systems based upon complex mathematical formulae.
Well written, delightfully illustrated and attractively presented this book, in its way,
offers a notable model for the communication of new ideas and the opening up of new
experiences.

The title of these books is somewhat misleading. They are certainly about woodwork,
but more importantly they are about the teaching of woodwork. Accordingly they must
be considered not only as books about craft skill and technique but also in terms of what
they contribute to the educational framework of the subject area.
It must be said at once that the presentation is splendid. A great deal of time and care
have been devoted to the profusion of illustrations, which, almost without exception,
could be copied by an examination candidate in his theory examination.
For teachers who still see this as the way to teach and examine woodwork the books
will be a welcome addition to their bookshelves. But before purchasing they should be
warned that they will find little in the way of illustrations that they do not already
possess. Orthodox joints and constructions proliferate and much of the technology hinges
on dreary examination questions. Indeed when one considers the enormous opportunities
now available to teachers through Mode III type examinations one wonders why books of
this type are still thought to be necessary in 1973.
The section on design I found particularly disappointing. Most of the design problems
offered were in fact not problems at all but preconceived solutions to which the student
could make only a very limited response. For example:
"THE TELEPHONE UNIT
There is a four-fold problem of space involved in the design of such a table:
1. Space for the telephone.
2. Space for writing messages.

3. Storage for directories.

4. Space for sitting."
Two possible solutions to the problem are given, along with details of construction,
materials and finish. The need to think, to explore, to test is minimised and the student's
mind is effectively restricted to known solutions. When, as a husband and father, he
contemplates the size of his telephone bill he may question the wisdom of the book that
persuaded him to provide sitting accommodation by the telephone.
Thus we are confronted with the central problem of writing books about woodwork.
A vast literature already exists covering the theory and practice of the craft and little can
be added in this area. It is in the changing approaches to the teaching of the subject that
enormous scope exists, and will continue to exist, for the examination of new views.
Perhaps we must await a new generation of writers before such books become available.
D. Tabemer

The authors have discovered a new formula for producing the instant coffee table
book with breathtakin~ ease. Photograph every sign one sees on one's holiday or business
travels in North Amerioa and Europe. Get your friends to help you if you wish. Record
everything, door-pulls, pub signs, traffic notices, shop fronts, church notice boards, car
stickers, engravings, the lot. Crudely divide this mass of material into eight rather
meaningless sections - including a large unclassified one. Fill almost 200 large pages with
your photographs - not worrying oveI"much about their quality. Add captions that can
be written merely by inspection of the photograph - no tiresome research needed. (Like
"England's great traditions of the'sea often appear on inn signs in such names as 'Ship' or
'Anchor'; this one apparently memorialises a particular ship" or "This sign is hand
painted with great care and detail; it was made for one of a large chain of hotels and inns
in England"). Imply quaint local significance to such items as international road signs if it
is likely to please the reader. Print and bind the book expensively in Japan and market it
at an exhorbitant price.
Regrettably the formula appears to be foolproof.

I nclusion in this list does not preclude subsequent review

d'ARBELOFF, Natalie
ASPEN, G.
BEETSgJ!EN, L. (Ed.)
BUNCH,C.
CAPON. R.
CHABBERT, A.
COLLINS. P.
DANIELS, H. &
TURNER, Silvie
DANIELS, H. &
TURNER, Silvie
DAVlDSON, 1.
DAVIES, Rita
DREESMANN, Cecile
DUNCAN, Molly
DUNCAN, Molly
GEIPEL, Eileen
GREENHOWE, Jean
GRISBROOK, H. &
PHILLIPSON, C.
HARTUNG, R.
HAYWARD, C.H.
HEIN, Gisela
IVES, Suzy
JACKSON, B~enda B.
KAMPMANN, L.
KRAMER, J.
JACKSON, Brenda B.
PALMER, F.
PARSONS, C. &
PARSONS, Joyce
POPE,M.
SCOTT,G.
SHILLINGLAW, Phyl
SMITH, G. Roland
SNOOK, Barbara
SNOOK, Barbara
STODDART, Brigitte
STOKES,G.
SUTTON, H.T.
TOLLYFIELD, J.
WALMSLEY, L.
WHEELER, W. &
HA YWARD, C.H.
WHITE, Alice
WHITE, Alice

Desi~ing with Natural Forms

One iece of Card
Treasures Series
Acrylic for Sculpture & Design
Introducing Graphic Techniques
Paper Sculpture
Introducing Candle making
Exploring Printmaking for Young
People
Simple Print making with Children

B.T. Batsford
B.T. Batsford
Mills & Boon
Van Nostrand Reinhold
B.T. Batsford
Harrap Books
B.T. Batsford

1.90
1.50
80
4.95
1.70
1.75
1.60

Van Nostrand Reinhold

Van Nostrand Reinhold

2.50
2.50

Ideas for Jewelry

B.T. Batsford
Let's Make Patterns
Evans Brothers
Van Nostrand Reinhold
Samplers for Today
Creative Crafts with Wool and Flax
G. Bell & Sons
Spin your own wool & dye it & weave
it
G. Bell & Sons
Let's Model with Plaster
Evans Brothers
B.T. Batsford
Making Costume Dolls
Pictorial Guide to Engineering
Workshop practice
Routledge & Kegan Paul
Clay
B.T. Batsford
Tools for Woodwork
Evans Brothers
B.T. Batsford
Fabric Printing
Children's Costumes in Paper
B.T. Batsford
and Card
Junk on the Move
Evans Brothers h.b.
p.b.
Children's Book of Painting
B.T. Batsford
Human Anatomy & Figure Drawing
Van Nostrand Reinhold
Model Making in Schools
B.T. Batsford
Visual Awareness
B.T. Batsford
Make your own Collection
Evans Brothers h.b.
p.b.
Introducing Water colour Painting
B.T. Batsford
Introducing Finger Painting
B.T. Batsford
Introducing Weaving
B.T. Batsford
The Zebra Book of Papercraft
Evans Brothers h.b.
p.b.
Making Masks
B.T. Batsford
Scribble Stitchery
B.T. Batsford
Papercutting
B.T. Batsford
Modern Wood Turning
Evans Brothers
Models in Action
Evans Brothers
Experiments for You
Evans Brothers h.b.
p.b.
Approaches to Drawing
Evans Brothers
Practical Woodcarving and Gilding
Evans Brothers
I

Performing Toys Cards

More Performing Toys

Mills & Boon

Mills & Boon

1.90
40
4.50
1.40
1.45
40
1.90
60
1.50
2.50
1.50
1.50
80
30
2.30
4.50
2.00
1.90
80
30
1.90
1.70
1.90
80
30
1.20
1.90
1.50
2.50
1.75
80
30
1.60
2.50
80
2.15