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.
In 1951, designer Greta Magnusson Grossman observed that California design was “not a superimposed style, but an answer to present conditions. . . . It has developed out of our own preferences for living in a modern way.” California design influenced the material culture of the entire country, in everything from architecture to fashion. This generously illustrated book, which accompanies a major exhibition at the Los Angeles County Museum of Art, is the first comprehensive examination of California’s mid-century modern design.
When designer and computer scientist John Maeda was tapped to be president of the celebrated Rhode Island School of Design in 2008, he had to learn how to be a leader quickly. He had to transform himself from a tenured professor--with a love of argument for argument’s sake and the freedom to experiment--into the head of a hierarchical organization. The professor is free to speak his mind against “the man.” The college president is “the man.” Maeda has had to teach himself, through trial and error, about leadership. In Redesigning Leadership, he shares his learning process.
When Neil Armstrong and Buzz Aldrin stepped onto the lunar surface in July of 1969, they wore spacesuits made by Playtex: twenty-one layers of fabric, each with a distinct yet interrelated function, custom-sewn for them by seamstresses whose usual work was fashioning bras and girdles. This book is the story of those spacesuits. It is a story of the triumph over the military-industrial complex by the International Latex Corporation, best known by its consumer brand of "Playtex"—a victory of elegant softness over engineered hardness, of adaptation over cybernetics.
Our cities are "smart" and getting smarter as information processing capability is embedded throughout more and more of our urban infrastructure. Few of us object to traffic light control systems that respond to the ebbs and flows of city traffic; but we might be taken aback when discount coupons for our favorite espresso drink are beamed to our mobile phones as we walk past a Starbucks. Sentient City explores the experience of living in a city that can remember, correlate, and anticipate.
Le Corbusier, who famously called a house "a machine for living," was fascinated—even obsessed—by another kind of machine, the automobile. His writings were strewn with references to autos: "If houses were built industrially, mass-produced like chassis, an aesthetic would be formed with surprising precision," he wrote in Toward an Architecture (1923). In his "white phase" of the twenties and thirties, he insisted that his buildings be photographed with a modern automobile in the foreground.
For years, the signs in the New York City subway system were a bewildering hodge-podge of lettering styles, sizes, shapes, materials, colors, and messages. The original mosaics (dating from as early as 1904), displaying a variety of serif and sans serif letters and decorative elements, were supplemented by signs in terracotta and cut stone. Over the years, enamel signs identifying stations and warning riders not to spit, smoke, or cross the tracks were added to the mix.
The “objective” world is one of facts, data, and actuality. The world of the “nonobject” is about perception, experience, and possibility. In this highly original and visually extravant book, Branko Lukic (an award-winning designer) and Barry Katz (an authority on the history and philosophy of design) imagine what would happen if design started not from the object but from the space between people and the objects they use. The “nonobject,” they explain, is the designer’s personal experiment to explore our relation to the observable world.
If only today’s technology were simpler! It’s the universal lament, but it’s wrong. We don't want simplicity. Simple tools are not up to the task. The world is complex; our tools need to match that complexity. Simplicity turns out to be more complex than we thought. In this provocative and informative book, Don Norman writes that the complexity of our technology must mirror the complexity and richness of our lives. It’s not complexity that’s the problem, it’s bad design. Bad design complicates things unnecessarily and confuses us.
Mainstream media, often known simply as MSM, have not yet disappeared in a digital takeover of the media landscape. But the long-dominant MSM—television, radio, newspapers, magazines, and books—have had to respond to emergent digital media. Newspapers have interactive Web sites; television broadcasts over the Internet; books are published in both electronic and print editions. In Designing Media, design guru Bill Moggridge examines connections and conflicts between old and new media, describing how the MSM have changed and how new patterns of media consumption are emerging.