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What is design in modern China? And what are the ecological stakes in understanding how modern Chinese design encourages us to see? This book takes up these questions though exploration into the work of three famous designers who were actively engaged with the natural sciences in early twentieth-century Shanghai, Canton, and Beijing.The designed objects asking for heightened vision into interior and exterior worlds make their way across temporal and cultural boundaries. This book, then, is also about that movement, and the emotions of the eye which support it. Porcelain dishes, textiles, magazine covers, and paintings moved the people who lived with them a century ago in China to an awareness of their edges, rims, borders as boundary lines, and to see things through those in-between forms from a new point of view; to share pleasure in colour and pattern, perhaps, but also to connect to other deeply transformative feelings at the boundary.The book will be of interest to scholars working in design history, art history, and Chinese studies.

This edited book contests that if design's raison d'être is to make things better, then the object of design has always been, remains and can only be a changed world and our relationship to it – the world-for-us.Each chapter was written by carefully selected researchers and practitioners who span geographical, disciplinary, and methodological boundaries in their work. Contributors skilfully examine the case that, while this once might have been seen to be a worthy objective (how else to effect a preferred state and/or pursue the project for the better world?), now the role of designing must cease to service design for change in the manner in which it has been doing. Chapters explore how designing itself might change to explore the possibilities that might exist for the design of what-might-not-become in an unthinkable-world; what Eugene Thacker calls a world-without-us. This world-without-us does not mean a world devoid of humans or an interstellar world, but a world we project that continues to revolve around the sun but no longer revolves around us.This book will be of interest to scholars working in design research, design ecology, product design, service design, experience design, architecture, and information design.

The work of the Dutch Benedictine monk and architect Hans van der Laan (1904–1991) offers important insights into the ways in which artifacts address the complexity of human physical, cognitive, and social needs. Van der Laan developed a number of powerful lines of thought, three of which are introduced here: the search for a theory of architecture; the establishment of a three-dimensional system of proportions named Plastic Number; and analogy as the mainspring of human thinking. This triad of deeply interconnected intellectual strategies represents his most important ‘instruments of thought'and is rooted in the careful observation of phenomena as they are presented to us rather than relying on conventional beliefs. Van der Laan's instruments of thought lead us to reconsider the origins of human creation, urging a deeper examination of our perceptual and cognitive response to the limitlessness of the surrounding environment. On this basis, Van der Laan develops a unique philosophy of culture and design that includes considerations on the relationship between nature, culture, and religious ritual.Although this book is informative, its principal aim is to be formative. On the basis of Van der Laan's instruments of thought, the authors develop a methodology to explore the Plastic Number theory and the many ways in which we perceive and interpret proportion. Reintroducing playful creativity and intellectual exploration into architectural pedagogy and design practice, this book is a gateway for a deeper understanding of the effects of the built environment on human behavior and the various ways in which the human mind perceives and decodes artifacts.

By positioning designers and their practices at the center of design studies, Designing Knowledge merges theory and practice to highlight how knowledge creation can contribute to an expanded and more inclusive design practice. Bringing together a rich variety of perspectives, methods and approaches, and by exploring and critiquing current issues in design studies, this book encourages designers to reflect on their work in a new light. Design studies practice is a material and tangible focus on knowledge production and mobilization in the field of design. Throughout 15 chapters featuring a wide range of case studies, design practitioners and theorists address how they produce and mobilize knowledge about design through their practice. Chapters explore how to dismantle the colonial structures of modernist design and depart from the privileged spaces of art historical concepts in design history. They address tensions between traditional Indigenous design and contemporary design practice, discuss how to authentically integrate personhood into practice and explore topics such as designing wellbeing, developing communities of care, informed accountability and principles of the ecocene. They also analyse languages and typographic representations and investigate the nature of the graphic and typographic translation of literary texts, focusing on the writing of Argentinian writer Jorge Luis Borges as a case study.This book elevates the voices of designers and their work and offers insights to professional designers as well as students on how to use these contributions when working on future projects. By highlighting the awareness of designers throughout their practice, this book will inspire others to reflect on their work and share their own knowledge for the benefit of the field of design.

Drawing from the work of Dewey, Wittgenstein and Heidegger, this book aims to relate a series of philosophic insights to the practice of engaging in design research for change.These insights are explored and presented as a set of potential strategies for grounding transformative design research within an intellectual context which both embraces and celebrates experience, process and uncertainty. Chapter by chapter, through theory, practical examples and case studies, an accessible narrative opens up around the coupled themes of existence and experience, language and meaning and knowing and truth. The outcome is a rich and detailed perspective on the ways in which philosophy may afford design research for change a means to both explain, as well as understand, not only what it is and what it does, but also what it could be.The book will be of interest to scholars working in design studies, design theory and design research.

How to develop an ethical design practice and build a better world.The choices made by designers have a significant effect on the world. Yet so much of the discourse on design focuses on aesthetics rather than ethics. In The New Designer, acclaimed author Manuel Lima aims to change this by challenging common myths and preconceptions about what comprises good design. He argues that designers must take responsibility for the personal, societal, cultural, and environmental impact of their work, rather than simply following a standard template.As he covers fields ranging from graphic design to industrial design to user-experience design, Lima identifies the major steps that designers must take to be a force for good in the world. Rather than sticking to outmoded ideas about perfectionism and individual genius, designers must work together to tackle some of the most challenging questions of the twenty-first century. How do you make room for humanity, with all its wondrous variations, in a society increasingly driven by metrics, algorithms, and profit? How can ecologically responsible designers consider a product's entire life cycle and look well into the future? And how can designers better respond to a community's local needs while taking advantage of global networks?Blending approaches derived from ethics, psychology, economics, and ecology, The New Designer is a vital, field-changing treatise that will appeal to any reader who seeks to understand design's massive influence on the contemporary world.

A new approach to addressing the contemporary world's most difficult challenges, such as climate change and poverty.Conflicts over “the problem” and “the solution” plague the modern world and land problem solvers in what has been called “wicked problem territory”—a social space with high levels of conflict over problems and solutions. In Design Strategy, Nancy C. Roberts proposes design as a strategy of problem solving to close the gap between an existing state and a desired state. Utilizing this approach, designers and change agents are better able to minimize self-defeating conflicts over problems and solutions, break the logjam of opposition, and avoid the traps that lock problem solvers into a never-ending cycle of conflict.Design as a field continues to grow and evolve, but Design Strategy focuses on three levels of design where “wicked problems” tend to lurk—strategic design (of private and public organizations), systemic design (of networked and overlapping economic, technical, political, and social subsystems), and regenerative design (of life-giving realignment between humanity and nature). Within this framework, Roberts presents refreshingly interdisciplinary case studies that integrate theory and practice across diverse fields to guide professionals in any domain—from business and nonprofit organizations to educational and healthcare systems—and finally offers hope that humanity can tackle the existential challenges we face in the twenty-first century.

This project is born out of similar questions and discussions on the topic of organicism emergent from two critical strands regarding the discourse of organic self-generation: one dealing with the problem of stopping in the design processes in history, and the other with the organic legacy of style in the nineteenth century as a preeminent form of aesthetic ideology.The epistemologies of self-generation outlined by enlightenment and critical philosophy provided the model for the discursive formations of modern urban planning and architecture. The form of the organism was thought to calibrate modernism's infinite extension. The architectural organicism of today does not take on the language of the biological sciences, as they did in the nineteenth and twentieth centuries, but rather the image of complex systems, be they computational/informational, geo/ecological, or even ontological/aesthetic ‘networks'. What is retained from the modernity of yesterday is the ideology of endless self-generation. Revisiting such a topic feels relevant now, in a time when the idea of endless generation is rendered more suspect than ever, amid an ever increasing speed and complexity of artificial intelligence (AI) networks.The essays collected in this book offer a variety of critiques of the modernist idea of endless growth in the fields of architecture, literature, philosophy, and the history of science. They range in scope from theoretical and speculative to analytic and critical and from studies of the history of modernity to reflections of our contemporary world. Far from advocating a return to the romantic forms of nineteenth-century naturphilosophie, this project focuses on probing organicism for new forms of critique and emergent subjectivities in a contemporary,'post'-pandemic constellation of neo-naturalism in design, climate change, complex systems, and information networks.This book will be of interest to a broad range of researchers and professionals in architecture and art history, historians of science, visual artists, and scholars in the humanities more generally.

This book directly links the notion of the commons with different design praxes, and explores their social, cultural, and ecological ramifications. It draws out material conditions in four areas of design interest: social design, commons and culture, ecology and transdisciplinary design. As a collection of positions, the diversity of arguments advances the understanding of the commons as both concepts and modes of thinking, and their material translation when contextualised in the domain of design questions. In other words, it moves abstract social science concepts towards concrete design debates. This text appeals to students, researchers and practitioners working on design in architecture, architecture theory, urbanism, and ecology.

The book presents a comprehensive treatment on a novel design theory that fosters innovative thinking and creativity essential for addressing wicked problems. Wicked problems are ill-defined, ambiguous in both aims and solutions, and complex with interconnected and intertwined (coupled) factors. While being ubiquitous and difficult, however, wicked problems share characteristics common to science and design in three regards, namely agent finitude, system complexity, and problem normativity. These fundamental attributes allow a core cognitive process common to design and science to be identified and a strategic problem-solving conception of methodology be formulated as a result. The theory facilitates new opportunities for synergetic cross-disciplinary research and practice by incorporating the essences of Extenics to axiomatic design. Innovative thinking is enabled by exploring Extenics for problem reframing, paradigm shift, and abductive reasoning and by engaging axiomatic design in the co-evolution (iteration) of the need and viable design concept. The theory is unique in that it is a framework for quantifying imprecise and vague design information available during the conceptual design stage as mathematical expression and algorithm early in the design effort and enables the objective evaluation and emergence of an optimal design concept from among multitude of viable ones. The book is conceived for students and real-world practitioners in engineering, natural and social sciences, business, and fine arts who seek to develop powerful design thinking for solving problems in a creative and innovative way.

Long-sighted, radical and provocative, this book offers a foundational framework of concepts, principles and methods (exemplified with selected tools) to enable metadesigners to manage and reinvent their practices. The book reminds readers that designers are, albeit unwittingly, helping to shape the Anthropocene. Despite their willingness to deliver greener products and services, designers find themselves part of an industry that has become the go-to catalyst for dividends and profit. If our species is to achieve the rehabilitation and metamorphosis, we may need to design at the level of paradigms, genres, lifestyles and currencies. This would mean making design more integrated, comprehensive, adaptive, transdisciplinary, self-reflexive and relational. The book, therefore, advocates a shift of emphasis from designing ‘sustainable'products, services and systems towards cultivating synergies that will induce regenerative lifestyles. The book will be of interest to managers, designers, scholars and educators from a wide range of backgrounds, including design research, design history, design studies and environmental studies.

Die Sichtweise als Designprinzip Lucius Burckhardt (1925–2003) schrieb seine Theorie Der kleinstmögliche Eingriff bereits Anfang der 1980er-Jahre. Die Idee des minimalen Eingriffs zieht sich durch sein gesamtes Werk, von der Kritik des Urbanismus bis zur Wissenschaft des Gehens. Der „kleinstmögliche Eingriff“ steht für eine Planungstheorie, die auf der Ebene der Landschaftsgestaltung davon ausgeht, dass es zwei „Landschaften“ gibt: die tatsächlich sichtbare und die in unseren Köpfen. Die Theorie des kleinsten Eingriffs bedeutet, nicht mit gewaltigen Mitteln in die bestehende Landschaft einzugreifen, sondern auf das Landschaftsbild in unseren Köpfen einzuwirken und ein ästhetisches Verständnis der Umwelt zu schaffen. Der Schweizer Soziologe wendet in diesem erstmals auf Englisch erhältlichen Buch die Formel auf viele Gestaltungsbereiche an. Gedankliches Konzentrat von Lucius Burckhardts Theorien erstmals auf Englisch Zusammenhänge der Planung und des Bauwesens Rationalisierung und Bedürfnisse

Die unbewusste Botschaft von Gestaltung Unzählige Interaktionen mit Dingen prägen unseren Alltag: Schnürsenkel binden, Anrufe tätigen, Fahrradfahren – das Repertoire an Handlungs- und Orientierungswissen, das dabei tagtäglich nötig ist, lässt sich schwer in Worte fassen. Unbewusst nehmen wir wahr, welche Handlungsmöglichkeiten die Dinge bieten. Doch wie kann die wortlose Kommunikation zwischen Dingen und NutzerInnen gelingen?Die Autorin zeigt, wie diese implizite Vermittlung designt wird und wodurch Menschen fähig sind, ihre Interaktionsmöglichkeiten wahrzunehmen, zu nutzen, und sie sogar mitzugestalten. Die Bedeutung dieser Ergebnisse sind für das Design, die Designforschung sowie wie für die Technik- und Wissenschaftsforschung von hoher Relevanz. Implizite Wissensformen, die im Interaktionsdesign eine unentbehrliche Rolle spielen Erstaunliches Wissensrepertoire in Alltagsinteraktionen Eine geschriebene Ausstellung als Form, die selbst im Text implizit Verborgenes sichtbar werden lässt Stefanie Egger, The Invisible Lab, Graz

Visual information is everywhere. We are constantly immersed in a flow of visual data that reshapes our social and inner world. Companies and individuals are competing to conquer the public's scarce attention by inventing distinctive visual formats to stand out from the crowd. How can designers, inventors, and product managers create designs that are quick to process as well as meaningful, unique and memorable in an age characterized by constant information overload?The answer is to think aesthetically. Research insights at the intersection between cognitive science and art studies demonstrate that our minds can effectively process visual complexity by using aesthetic pleasure and judgement as a guide. Analysing the work of great artists and designers from the perspective of how our mind appreciates beauty, Elegant Design identifies actionable aesthetic strategies that will help you to design products and user experiences that are useful, beautiful and meaningful.

El presente libro es una de las culminaciones del proyecto Logos. Como venimos sosteniendo en los últimos años, el mundo académico tiene una obligación particular: la de ser un espectador crítico de la sociedad de la que forma parte. Es justo en este nudo donde se enclava el núcleo del proyecto Logos, en la necesidad de transferir el conocimiento generado en las universidades y centros de investigación para resolver problemas, analizar realidades, estudiar situaciones y ofrecer alternativas.

Material Theories takes a radically new approach to well-established thinking on nineteenth-century architecture and design by investigating Gottfried Semper's classic ideas about dressing, metamorphosis of material, and cultural development, culminating in his two-volume publication Style.This book demonstrates how Semper's theories crystallised among his encounters with material things of the late 1840s and early 1850s. It examines several discursive frameworks and phenomena which shaped the attitude to artefacts in Europe in the mid-nineteenth century, and which were specifically pertinent to Semper's evolution: archaeology and antiquarianism, the domestic interior, print media, collections, and the embodied relationship between the designer and their work. For the first time, this book examines the construction of a design theory not only as an intellectual endeavour but also as a process of confrontation with material things. It employs recent approaches to material culture, in particular Thing Theory, in order to show that Semper's artefact references constituted his ideas, rather than simply giving impetus to them.It will be an important investigation for academics and researchers interested in interior design history, as well as scholars of material culture and history of design theory.

Currently, businesses are forced to be more innovative than ever before. Organizations must be sensitive to global trends -- such as digitization, globalization, and automation -- and at the same time build resilience and flexibility to combat unexpected changes in customer demand. The coronavirus pandemic is just the most recent and pronounced example of this new-normal business necessity. Amidst the disruption, many businesses are caught not knowing how to proceed. How ought one pursue or achieve innovation for the company? Are there different innovation strategies? Why might a business leader choose one over the other? The Lean Innovation Cycle addresses these concerns by introducing a new multidisciplinary framework for both thinking about and pursing innovation. By taking key concepts from the quality management practices of Lean and Six Sigma, the framework augments these tools and disciplines by incorporating other problem-solving and design techniques, including Human-Centered Design. The result is a view of innovation that many business leaders will find fits nicely into their existing paradigm of strategy and operational discipline.After the introduction of the framework, the book turns to understanding the differences, advantages, and tradeoffs in pursuing Lean Innovation in lieu of traditional, technologically driven innovation approaches. To this end, the book considers issues of sustainability, organizational strategy, and competitive advantage. The result is a thought-provoking dialogue that informs the reader about the key considerations of how best to pursue innovation within their business and the business environment, as well as the circumstances that might make one innovation strategy more congruent to an organization's culture, goals, and objectives than the other.

This volume presents for the first time in English a curated selection of writings by the design thinker Gui Bonsiepe from the 1960s to the present day. Addressing as it does questions of non-Western design and a design practice that is both radical and democratic, Bonsiepe's work has assumed new importance for current debates inspired by global political and environmental crises.Structured into three sections, the anthology first addresses Bonsiepe's work on design theory and practice, particularly in relation to the history and contemporary relevance of the Ulm design school, where Bonsiepe was a professor in the 1960s. A second section then represents Bonsiepe's writings after his move to South America in the 1960s and'70s, where he worked as a design consultant for the Allende government in Chile before the military takeover. In writings from the period, Bonsiepe explores the concept of design'at the periphery'and the relationship of national design traditions and practices in Latin American countries to those of'the core'- Western European and American design. The final section comprises selections of Bonsiepe's writings on design in relation to literacy and language, visuality and cognition. This indispensable volume includes new interviews with Bonsiepe as well as his original, previously unpublished texts.

A sweeping historical study, Building Paradise seeks to construct a garden ethic for the design arts. It is an ethic predicated on the idea that, with our recent ecological and biological insights, we can build more intelligently than the status quo of current design practices. The paradisiacal instinct is the motivation behind every artistic impulse. From its theological origins to the present, the idea of paradise—the garden as a place of peace, beauty, and happiness—has acquired numerous meanings. It was a motif expounded in the earliest cultures of Mesopotamia, Egypt, and the Indus Valley, and it later became a dominant feature of Buddhist, Judeo-Christian, and Islamic practices. It informed Greco-Roman mythologies and the design of a Japanese garden; it was a motivation for the Renaissance humanists, and was complicit in visions of a New Arcadia within the landscapes of the Americas. This book, underscoring how the built and urban environments shapes culture, takes a biophilic approach and draws upon the major advances of the human sciences of the last few decades to argue on behalf of a design ethic centered squarely on human needs and aspirations. Written for students and academics within architecture and all related fields, this book focuses on the efforts to build paradise in a material way.

Change is inevitable. This is the only constant in our lives. Yet, change is also something that we fear. We seek comfort in the familiar, in routines and in conventions. We are afraid of things that we don't know or we don't understand. We fear change because we don't know how change will affect us. Change, however, is necessary for progress. Sometimes, change happens naturally due to circumstances beyond our control, and sometimes we initiate change because we can or because we must. In 2020, we experienced the biggest change of our lifetimes. For a brief moment in history, the world came to a halt. Then, everything changed. Many things that we used to take for granted no longer applied. We experienced major disruptions to our daily lives. As if in some kind of perfect storm, so many things happened all at once – global pandemic, social inequalities, climate change, racial injustices, riots and unrests, gender struggles and rapid advances of new technologies. This book started to take shape in the midst of it all, and in a way, it is a time capsule of how we experienced the birth of what became known as the'new normal'. Designers are the kind of people who thrive in times of change. In fact, it is their job to create change. The nature of their job is such that they have to take an existing situation and change it into a better, or a more preferred situation. Some do this by relying on their imagination and personal experiences, and some use evidence-based research to inform their work. Regardless of this, many share the belief that they can somehow make the world a better place – on a micro or a macro level. During this period of massive change, Gjoko Muratovski invited ten highly influential design figures – including iconic design leaders such as Carole Bilson, Karim Rashid, Bruce Mau, Steven Heller and Don Norman – to reflect on the state of things today. In return, each one of them shares a highly personal account on why change is good. The book also features a foreword written by the president of the World Design Organisation (WDO), Srini Srinisavan, and a conclusion by one of the greatest design philosophers of our time, Ken Friedman. By looking to the past and reflecting on the present, these designers project very personal images of the future that they would like to see. The conversations are very broad, and they cover highly diverse topics. From the effects of the pandemic, to issues of race and gender, notions of beauty, technology and industry, to global and local economies, politics, power, privilege and the importance of community. A'must-read'for anyone interested in how designers and design can change the world. Gjoko Muratovski is a university executive, award-winning designer and innovation consultant working with leading organisations, Fortune 500 companies and governments from around the world, and a fellow of the Design Research Society.

The book provides an open and integrated view of creativity in the 21st century, merging theories and case studies from design, psychology, sociology, computer science and human-computer interaction, while benefitting from a continuous dialogue within a network of experts in these fields. An exploratory journey guides the reader through the major social, human, and technological changes that influence human creative abilities, highlighting the fundamental factors that need to be stimulated for creative empowerment in the digital era. The book reflects on why and how design practice and design research should explore digital creativity, and promote the empowerment of creativity, presenting two flexible tools specifically developed to observe the influences on multiple level of human creativity in the digital transition, and understand their positive and negative effect on the creative design process. An overview of the main influences and opportunities collected by adopting the two tools are presented with guidelines to design actions to empower the process for innovation.

Get the Summary of Yu-kai Chou's Actionable Gamification in 20 minutes. Please note: This is a summary & not the original book. Original book introduction: The new era of Gamification and Human-Focused Design optimizes for motivation and engagement over traditional Function-Focused Design. Within the industry, studies on game mechanics and behavioral psychology have become proliferate. However, few people understand how to merge the two fields into experience designs that reliably increases business metrics and generates a return on investment. Gamification Pioneer Yu-kai Chou takes reader on a journey to learn his twelve years of obsessive research in creating the Octalysis Framework, and how to apply the framework to create engaging and successful experiences in their product, workplace, marketing, and personal lives.

How to Design the World: Working Without SolutionsIn Medium Design everyone is a designer. But design, in this case, inverts the typical focus on object over its settings to concentrate on the medium—the matrix space between objects, events, and ideological declarations. It disrupts habitual modern approaches to the world's intractable dilemmas—from climate cataclysm to inequality to concentrations of authoritarian power. In a series of case studies dealing with everything from automation and migration to explosive urban growth and atmospheric changes, Medium Design offers spatial tools for innovation and global decision-making to challenge the authority of more familiar legal or economic approaches.From this perspective, solutions are mistakes and ideologies are unreliable guides. Rather than the modern desire for the new, designers find more sophistication in relationships between emergent and incumbent technologies. Encouraging entanglement, medium design does not try to eliminate problems but rather to put them together in productive combinations. And in the process of reconceptualizing design, Easterling puzzles over bulletproof powers, Stanley Kubrick, ISIS recruits, literary characters, and iconic activists in the hope of outwitting political deadlocks and offering forms of activism for modulating power and temperament in organizations of all kinds.

This book addresses one of the most pressing issues of our time: How can we design for, with, and in service of the complex world we live in? How can we be useful as designers in a rapidly changing world due to technological, political, and social processes, as well as climate change and nature destruction? Designers have some beneficial skills for planning with complex systems in mind, yet some old habits need to be overcome. Design's traditional purpose and role has been to solve problems, find order, organize, and simplify. Yet, the concept of designing complexity goes against these established beliefs because complexity cannot be designed away. So, instead, we present ways to live with, influence, and benefit from complex systems. The book presents Systems Oriented Design (SOD), a design methodology and design practice, especially geared toward understanding and working with complex systems.

Anthony Fontenot's staggeringly ambitious book uncovers the surprisingly libertarian heart of the most influential British and American architectural and urbanist discourses of the postwar period, expressed as a critique of central design and a support of spontaneous order. Non-Design illuminates the unexpected philosophical common ground between enemies of state support, most prominently the economist Friedrich Hayek, and numerous notable postwar architects and urbanists like Robert Venturi, Denise Scott Brown, Reyner Banham, and Jane Jacobs. These thinkers espoused a distinctive concept of'non-design,'characterized by a rejection of conscious design and an embrace of various phenomenon that emerge without intention or deliberate human guidance. This diffuse and complex body of theories discarded many of the cultural presuppositions of the time, shunning the traditions of modern design in favor of the wisdom, freedom, and self-organizing capacity of the market. Fontenot reveals the little-known commonalities between the aesthetic deregulation sought by ostensibly liberal thinkers and Hayek's more controversial conception of state power, detailing what this unexplored affinity means for our conceptions of political liberalism. Non-Design thoroughly recasts conventional views of postwar architecture and urbanism, as well as liberal and libertarian philosophies.

How posthumanist design enables a world in which humans share center stage with nonhumans, with whom we are entangled.Over the past forty years, designers have privileged human values such that human-centered design is seen as progressive. Yet because all that is not human has been depleted, made extinct, or put to human use, today's design contributes to the existential threat of climate change and the ongoing extinctions of other species. In Things We Could Design, Ron Wakkary argues that human-centered design is not the answer to our problems but is itself part of the problem. Drawing on philosophy, design theory, and numerous design works, he shows the way to a relational and expansive design based on humility and cohabitation. Wakkary says that design can no longer ignore its exploitation of nonhuman species and the materials we mine for and reduce to human use. Posthumanism, he argues, enables a rethinking of design that displaces the human at the center of thought and action. Weaving together posthumanist philosophies with design, he describes what he calls things—nonhumans made by designers—and calls for a commitment to design with more than human participation. Wakkary also focuses on design as “nomadic practices”—a multiplicity of intentionalities and situated knowledges that shows design to be expansive and pluralistic. He calls his overall approach “designing-with”: the practice of design in a world in which humans share center stage with nonhumans, and in which we are bound together materially, ethically, and existentially.

Design and Culture: A Transdisciplinary History offers an inclusive overview that crosses disciplinary boundaries and helps define the next phase of global design practice. This book examines the interaction of design with advances in technology, developments in science, and changing cultural attitudes. It looks to the past to prepare for the future and is the first book to offer an innovative transdisciplinary design history that integrates multidisciplinary sources of knowledge into a mindful whole. It shows design as a process that expresses goals through values and beliefs, functioning as a major factor in contemporary cultural life.Starting with the development of the Industrial Revolution, the book focuses on the evolution of design and culture in the twentieth century to predict where design will go in the future. Given the major social and political shifts currently unfolding across the globe, and the resulting changing demographics and environmental degradation, Design and Culture encourages collaboration and communication between disciplines to prepare for the future of design in a rapidly changing world.

What futures are we designing by default? What collaborations are we complicit in? How can we incorporate an active civic engagement into our professional and creative practice – into our everyday lives? Esther Anatolitis presents a dynamic snapshot of her own practice from a distinctly Australian context but with a global perspective, offering tools and techniques for integrating civic engagement into daily practice. Taking leaps across spatial, creative, professional and political work, this is an unsettling text.

This book is an essential contribution to the transdisciplinary field of critical design studies. The essays in this collection locate design at the center of a series of interrelated planetary crises, from climate change, nuclear war, and racial and geopolitical violence to education, computational culture, and the loss of the commons. In doing so, the essays propose a range of needed interventions in order to transform design itself and its role within the shifting realities of a planetary crisis. It challenges the widely popular view that design can contribute to solving world problems by exposing how this attitude only intensifies the problems we currently face. In this way, the essays critique the dominant modes of framing the meaning and scope of design as a largely Anglo-European'problem-solving'practice. By drawing on post-development theory, decolonial theory, black studies, continental philosophy, science and technology studies, and more, the contributions envision a critical and speculative practice that problematises both its engagement with planet and itself.The essays in this collection will appeal to design theorists and practitioners alike, but also to scholars and students generally concerned with how the past and future of design is implicated in the unfolding complexity of ecological devastation, racial and political violence, coloniality, technological futures, and the brutality of modern Western culture generally.

Design and Spirituality examines the philosophical context of our current situation and its implications for design. It explores how modernity and our constricted notions of progress have contributed to today's crisis of values, and argues for a re-establishment and re-affirmation of self-transcending priorities, together with an ethos of moderation and sufficiency.A wide range of topics are covered, including material culture and spiritual teachings; sustainability and the spiritual perspective; traditional and indigenous knowledge; technology and spirituality; notions of meaningful design; and how particular material things can have deeper, symbolic significance. There are also reflections on areas such as the language of design; busyness and its relationship to wisdom; design and social disparity; and traditional sacred practices. While not avoiding issues that are controversial, and sometimes hard-hitting, Design and Spirituality gets to the heart of the key issues affecting us today and presents them in a highly readable and accessible format.The author is a leading thinker in the field and he presents his arguments in a manner that invites the reader to reflect and think about where we are going, why we are going there and what really matters.Podcastshttps://www.jesuit.ie/podcasts/the-spiritual-dimension-of-design/ https://newbooksnetwork.com/design-and-spirituality

Theories normally seek to explain something.'118 Theories of Design[ing]'asks us to question those explanations. By focusing on a broad range of somewhat overlooked and undervalued essays, papers, book articles, words, terms, authors and phenomena that swirl around design[ing], the reader is encouraged to read, reflect and question everything. This original book will appeal to a global market of university faculty heads and deans, museum directors, design educators, design researchers, key design practitioners, publishers, members of the design media, and undergraduate, postgraduate and post-doctoral students of design.

Wie »entstehen« Stars und Designklassiker im Feld des Designs? Markus Köck befasst sich erstmals mit der Prominenz im Feld des Designs für den deutschsprachigen Raum und bietet einen Einblick in 13 Publikationen über einen Zeitraum von nahezu sechs Jahrzehnten sowie in seine Arbeit mit raren Quelltexten aus Finnland, Japan und den USA. Dabei bettet er die Kernthemen Designrezeption und Konstruktion von Prominenz in der deutschsprachigen Presselandschaft in einen breiten Kontext ein, der die Grenzen der Disziplin zur Soziologie, Ethnologie, Anthropologie und auch zur Psychologie hin ausweitet.

Foreword by Roxane Gay“Debbie Millman brings her Design Matters podcast, ‘about how the most creative people in the world create their lives,'to the page with this excellent interview anthology. Sharpened by Millman's penetrating commentary, the candid musings teem with insight and empathy. This sparkling collection is one to be savored slowly.”—Publisher's WeeklyThe author, educator, brand consultant, and host of the widely successful and award-winning podcast Design Matters showcases dozens of her most exciting interviews, bringing together insights and reflections from today's leading creative minds from across diverse fields.“Debbie Millman has become a singular voice in the world of intimate, enlightening conversations. She has demonstrated time, and again, why design matters.”—Roxane Gay, from the forewordOver the course of her popular podcast's fifteen-year reign, Debbie Millman has interviewed more than 400 creative minds. In those conversations, she has not only explored what it means to design a creative life, but has, as Millman's wife, Roxane Gay, assesses in her foreword, “created a gloriously interesting and ongoing conversation about what it means to live well, overcome trauma, face rejection, learn to love and be loved, and thrive both personally and professional.”In this illustrated, curated anthology, Millman includes approximately 80 of her best interviews with visionaries from across diverse fields. Grouped by category—Legends, Truth Tellers, Culture Makers, Trendsetters, and Visionaries—these eye-opening, entertaining, and enlightening conversations—offer insights into new ways of being and living. Accompanying each entry is a brief biography, a portrait photographed by Millman, and a pull quote written in Millman's artistic hand. Why Design Matters features 100 images and includes interviews with:Marina Abramovic, Cey Adams, Elizabeth Alexander, Laurie Anderson, Lynda Barry, Allison Bechdel, Michael Bierut, Brené Brown, Alain de Botton, Eve Ensler, Shepard Fairey, Tim Ferriss, Louise Fili, Kenny Fries, Anand Girhidardas, Cindy Gallop, Malcolm Gladwell, Milton Glaser, Ira Glass, Seth Godin, Thelma Golden, Gabrielle Hamilton, Steven Heller, Jessica Hische, Michael R. Jackson, Oliver Jeffers, Saeed Jones, Thomas Kail, Maira Kalman, Chip Kidd, Anne Lamott, Elle Luna, Carmen Maria Machado, Thomas Page McBee, Erin McKeown, Chanel Miller, Mike Mills, Marilyn Minter, Isaac Mizrahi, Nico Muhly, Eileen Myles, Emily Oberman, Amanda Palmer, Priya Parker, Esther Perel, Maria Popova, Edel Rodriguez, Paula Scher, Amy Sherald, Simon Sinek, Pete Souza, Aminatou Sow, Brandon Stanton, Cheryl Strayed, Amber Tamblyn, Christina Tosi, Tea Uglow, Chris Ware, and Albert Watson.

Von Entwicklungen in Architektur und Raumplanung über medizinische Behandlungsformen, Materialforschungen der Physik oder militärische Tarntechnologien bis hin zu Erfindungen der Kleiderindustrie, den Modalitäten des Interfacedesigns oder Klangbildern der Musik spielt die Auseinandersetzung mit Oberflächen gegenwärtig eine zentrale Rolle. Gemeinsam ist ihnen, dass sie Fassaden, Häute, Außenseiten, Hüllen, Schirme, Stile etc. nicht mehr als defizitäre, zweitklassige oder nachgeordnete Formationen einer privilegierten ›Tiefe‹ gegenüberstellen, sondern sie zu etwas Eigenständigem um- und aufwerten. Ebenso werden auch begriffliche bzw. theoretische Konzeptionen der Oberfläche heute zunehmend reflektiert und transformiert, um Dualismen von Vorder- und Hintergrund, Innen und Außen, Wesen und Erscheinung zu dekonstruieren. Eine gewisse Emanzipation der Oberflächlichkeit ließe sich nicht nur in weiten Teilen des Poststrukturalismus, sondern auch in Konzepten der rezenten Kultur-, Medien- und Sprachtheorie konstatieren. Der vorliegende Band greift diese Entwicklungen auf und macht unter dem nietzscheanischen Stichwort ›Hautlichkeit‹ sowohl den praktischen Umgang mit Oberflächen als auch theoretische Reflexionen der Oberflächlichkeit zum Thema. Michael Andreas // Anneke Janssen // Julian Jochmaring // Holger Kuhn // Petra Leutner // Jan Müggenburg // Wolfgang Müller-Funk // Malte Pelleter // Barbara Proschak // Stefan Rieger // Anna L. Roethe // Oliver Ruf // Bärbel Schlüter // Gottfried Schnödl // Benjamin Steininger // Claudia Tittel // Christof Windgätter Das Buch ist unter der ISBN 978-3-86599-443-1 als Print-Ausgabe erhältlich.

Das Bauhaus stellte durch den Anspruch, Welt umfassend zu gestalten und aus den Künsten heraus pädagogisch zu handeln, Architektur, Design, Kunst und Pädagogik in einen untrennbaren Zusammenhang. Die Wirkungen dieses tiefgreifenden Reformwillens sind auch hundert Jahre nach der Gründung noch erkennbar in Kunst, Architektur, Design und gegenwärtigen Prozessen der ästhetischen Bildung erkennbar. Diese Resonanz des Bauhauses ist Gegenstand des vorliegenden Bandes. Aus den Perspektiven von Kunst- und Designgeschichte, Kunstpädagogik und Erziehungswissenschaft reflektieren die unterschiedlichen Beiträge das Bauhaus in Bezug auf die Aspekte: Populärkulturelle Rezeption, Erziehung durch Gestaltung, Material in der Lehre sowie das Bauhaus als regulative Idee im digitalen Zeitalter.

This interdisciplinary book explores design theories, combining research from a range of fields including architecture, landscape architecture, urban planning, urban design, industrial design, software engineering, environmental psychology, geography, anthropology, and sociology. Following an extensive review of the current literature, the author reveals eight major types of theory in design processes. The theories are classified as follows: Rational vs. Empiricist Theories, Procedural vs. Substantive Theories, Normative vs. Positive Theories, Design Scopes, Designers vs. People, Form and Space Creation Paradigms, Efficient Tools and Sources in the Design Process, and Place vs. Non-Place Theories. The respective design theories are illustrated with diagrams, tables and figures, condensing the content of over 140 essential theoretical texts that address various aspects of design processes. Given its scope, the book will appeal to undergraduate and graduate students, and to researchers and practitioners in design, urban planning, urban design, architecture, art, etc.

“Once one understands the nature and magnitude of defuturing as the negation of world futures, how one has to account for the history and making of the material world – including design - dramatically changes. Defuturing as our condition forces the generation of a new philosophy of design.” With these thoughts this book presents a radically new understanding of the history, context and futures of designing. First published in 1999, now reissued with a new preface by the author, Defuturing: A New Design Philosophy is a prescient and powerful account of what it means to comprehend that we live in world that is taking away futures for ourselves and non-human others. Arguing that designing is doubly implicated in this process, first in its roles in helping to create the unsustainable, but second, re-thought through the lens of defuturing, as a mode of acting in the world that can help contest the negation of the world, Defuturing transforms our comprehension of designing and of how futures can be constituted. Working not through abstract theorizing but through the analysis of concrete examples, the book uses historical material on design to expose the archaeology of defuturing. Shattering the illusion that the future simply “is”, Defuturing confronts designing with the challenge of remaking while offering the elements of a new practical reasoning of design acting.

Obwohl Design heute alle Bereiche unseres Lebens prägt, ist das Thema in der Philosophie bislang eher stiefmütterlich behandelt worden. Dieser Band möchte die Debatte um die Relevanz und den Sinn von Design innerhalb wie außerhalb der Philosophie befördern. Die pointierten und meinungsfreudigen Beiträge von knapp 20 namhaften Philosoph_innen stecken das Diskursfeld einer philosophischen Designtheorie neu ab - eine Tour d'Horizon und schon jetzt ein Standardwerk.

The Routledge Companion to Paradigms of Performativity in Design and Architecture focuses on a non-linear, multilateral, ethical way of design thinking, positioning the design process as a journey. It expands on the multiple facets and paradigms of performative design thinking as an emerging trend in design methodology.This edited collection explores the meaning of performativity by examining its relevance in conjunction with three fundamental principles: firmness, commodity and delight. The scope and broader meaning of performativity, performative architecture and performance-based building design are discussed in terms of how they influence today's design thinking.With contributions from 44 expert practitioners, educators and researchers, this volume engages theory, history, technology and the human aspects of performative design thinking and its implications for the future of design.

The architectural historian and critic Kenneth Frampton'never recovered'from the force of Hannah Arendt's teaching at The New School in New York. The philosopher Richard J. Bernstein considers her the most perceptive political theorist and observer of'dark times'(a concept which, drawing from Brecht, she made her own). Building on the revival of interest in Hannah Arendt, and on the increasing turn in design towards the expanded field of the social, this unique book uses insights and quotations drawn from Arendt's major writings (The Human Condition; The Origins of Totalitarianism, Men in Dark Times) to assemble a new kind of lexicon for politics, designing and acting today. Taking 56 terms – from Action, Beginnings and Creativity through Mortality, Natality, and Play to Superfluity, Technology and Violence – and inviting designers and scholars of design world-wide to contribute, Designing in Dark Times: An Arendtian Lexicon, offers up an extraordinary range of short essays that use moments and quotations from Arendt's thought as the starting points for reflection on how these terms can be conceived for contemporary design and political praxis. Neither simply dictionary nor glossary, the lexicon brings together designing and political philosophy to begin to create a new language for acting and designing against dark times.

This book argues for the importance of sketching as a mode of thinking, and the relevance of sketching in the design process, design education, and design practice.Through a wide range of analysis and discussion, the book looks at the history of sketching as a resource throughout the design process and asks questions such as: where does sketching come from? When did sketching become something different to drawing and how did that happen? What does sketching look like in the present day? Alongside an in-depth case study of students, teachers, and practitioners, this book includes a fascinating range of interviews with designers from a wide variety of backgrounds, including fashion, user experience, and architecture. Sketching as Design Thinking explains how drawing and sketching remain a prominent aspect in our learning and creative process, and provides a rich resource for students of visual art and design.

Design now has many meanings. For some, it is the creation of value. For others, it is the conception and creation of artefacts. For still others it is fitting things to people. These differences reflect disciplinary values that both overlap and diverge. All involve artefacts: we always design things. Each definition considers people and purpose in some way. Each handles evaluation differently, measuring against aesthetics, craft standards, specifications, sales, usage experiences, or usage outcomes. There are both merits and risks in these differences, without an appropriate balance. Poor balance can result from professions claiming the centre of design for their discipline, marginalising others. Process can also cause imbalance when allocating resources to scheduled stages. Balance is promoted by replacing power centres with power sharing, and divisive processes with integrative progressions. A focus on worth guides design towards worthwhile experiences and outcomes that generously exceed expectations. This book places a worth focus (Wo-Fo) in the context of design progressions that are Balanced, Integrated, and Generous (BIG). BIG and Wo-Fo are symbiotic. Worth provides a focus for generosity. Effective Wo-Fo needs BIG practices.