By Eric A. Anderson, George F. Earle
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Design, Industrial Congresses. I. , 1907- ed. II. , ed. III. New York (State). College of Forestry, Syracuse. IV. Syracuse University. School of Art. V. New York State Science and Technology Foundation. 184 75-171186 ISBN 0-87395-216-2 Page v Dedicated to Edwin C. Jahn, who gave so freely of his wisdom, counsel and encouragement in the course of this symposium. Page vii CONTENTS Preface ix Introduction The Editors xi Part I Wood as Art and Artifact 1 Is There a Substitute for Wood Grain Plastic?
And they were to become available, sure enoughthough somewhat laterprinted by the yard on paper and either pasted on to the wall or bonded into the surface of plastic laminates. Which he, and most architects, now profess to find disgusting. " In my turn, I should admit that "guts" is an unkind way of putting the matter. Most architects would say that they have a moral scruple against employing such a deception on the public. But I think we should notice that this has now become a very nice scruple, in the Shakesperian use of nice, and the morality involved has to be sliced very fine.
Such a new viewpoint might enable the architect to see wood as a truly versatile material that can be fabricated to meet his requirements. Perhaps the manufacturer will look to the real needs of the architect and fabricate his wood products to meet these needs. The designer can contribute better design of the product and the wood technologist might alter wood to suit the manufacturer's and architect's needs. The contributors were asked to consider wood and its design in the context of social needsthis implies creative design, both functional and aesthetic.
Design and aesthetics in wood by Eric A. Anderson, George F. Earle