Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Vital tools for implementing Lean Six Sigma--what they are, how they work, and which to use--The Lean Six Sigma Pocket Toolbook is today's most complete and results-based reference to the tools and concepts needed to understand, implement, and leverage Lean Six Sigma.

The only guide that groups tools by purpose and use, this hands-on reference provides:

• Analyses of nearly 100 tools and methodologies--from DMAIC and Pull Systems to Control Charts and Pareto Charts
• Detailed explanations of each tool to help you know how, when, and why to use it for maximum efficacy
• Sections for each tool explaining how to create it, how to interpret what you find, and expert tips
• Lean Six Sigma is today's leading technique to maximize production efficiency and maintain control over each step in the managerial process

With The Lean Six Sigma Pocket Toolbook, you'll discover how to propel your organization to new levels of competitive success--one tool at a time.

For forty years (1880 1920), the now-legendary architectural firm led by Charles Follen McKim, William Rutherford Mead and Stanford White was responsible for many of the finest buildings in America. The Boston Public Library, Pennsylvania Station in New York, and the campus of Columbia University are among the national landmarks designed by these men and their partners, Bert Fenner and William Mitchell Kendall. This anthology of plans, elevations, and details of major works of McKim, Mead, and White is an invaluable reference source and inspiration for the student of architecture. As Allan Greenberg writes in his introduction: The legacy of McKim, Mead, and White] is so vast that . . . both its outer boundaries and its inner characteristics are only barely discernible. As architects of some of the most important buildings in the history of American architecture, the work of the office of McKim, Mead, and White reached a level of quality which has never been equaled by any large office before or after. Charles Follen McKim cofounded the firm with William Rutherford Mead in 1878, along with his brother-in-law William B. Bigelow. One year later, Bigelow left the firm and was replaced by young Stanford White. Among the commissions that McKim worked on were the Villard Houses, the Boston Public Library, the Chicago World s Fair Columbian Exposition and the Agriculture Building, the Columbia University campus, Symphony Hall in Boston, alterations to the White House, the Pierpont Morgan Library, Pennsylvania Station, and the University Club in New York. Stanford White, who, ironically, had replaced Charles McKim at the firm of Gambrill and Richardson in New York, joined the partnership in September 1879. A young, enthusiastic man who could draw like a house afire, in the words of McKim, White was responsible for many of the firm s great architectural projects, including Madison Square Garden; the Washington Arch; the Judson Memorial Church; what is now Bronx Community College, and the accompanying Hall of Fame of Great Americans; the Tiffany Building, and the Gorham Building. His life and career ended abruptly at the age of fifty-three, when he was murdered on the roof of Madison Square Garden in a well-publicized shooting incident in 1906.