In The Aesthetics of Imagination in Design, Mads Folkmann investigates design in both material and immaterial terms. Design objects, Folkmann argues, will always be dual phenomena—material and immaterial, sensual and conceptual, actual and possible. Drawing on formal theories of aesthetics and the phenomenology of imagination, he seeks to answer fundamental questions about what design is and how it works that are often ignored in academic research.
In Adversarial Design, Carl DiSalvo examines the ways that technology design can provoke and engage the political. He describes a practice, which he terms “adversarial design,” that uses the means and forms of design to challenge beliefs, values, and what is taken to be fact. It is not simply applying design to politics--attempting to improve governance for example, by redesigning ballots and polling places; it is implicitly contestational and strives to question conventional approaches to political issues.
China is on the verge of a design revolution. A “third generation” of the People’s Republic of China that came of age during China’s “opening up” period of the 1980s now strives for fame, fortune, and self expression. This generation, workers in their thirties and forties, has more freedom to create--and to consume--than their parents or grandparents. In China’s Design Revolution, Lorraine Justice maps the evolution of Chinese design and innovation.
Design Things offers an innovative view of design thinking and design practice, envisioning ways to combine creative design with a participatory approach encompassing aesthetic and democratic practices and values. The authors of Design Things look at design practice as a mode of inquiry that involves people, space, artifacts, materials, and aesthetic experience, following the process of transformation from a design concept to a thing.
This book presents linkography, a method for the notation and analysis of the design process. Developed by Gabriela Goldschmidt in an attempt to clarify designing, linkography documents how designers think, generate ideas, put them to the test, and combine them into something meaningful. With linkography, Goldschmidt shows that there is a logic to the creative process—that it is not, as is often supposed, pure magic. Linkography draws on design practice, protocol analysis, and insights from cognitive psychology.