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• Um resgate importante da historia do design nacional
• Brasil Faz Design : historia, valorização e promoção do design brasileiro
• Brasil faz design
• Vetor do design brasileiro
• Brasil faz design 1995
• Brasil faz design 1996
• Brasil faz design 1998
• Brasil faz design 2000
• Brasil faz design 2002
• Brasil faz design 2004
• Desdobramentos
• Profissionais homenageados
• Branco & Preto : o design brasileiro dos anos 50
• Gregori Warchavchik
• Joaquim Tenreiro : um maestre do movel moderno no Brasil
• Zanine : o interprete da madeira
• Bornancini e Petzold : design e industria
• Karl Heinz Bergmiller
• Fichas tecnicas das exposiçoes.

History of the event that took place for the first time in 1995 and was responsible for presenting international designers such as Fernando and Humberto Campana, Fernando Jaeger and Pedro Paulo Franco at the time young talents who were just beginning their production. The publication rescues texts from the catalogs of the "Brasil Faz Design (BFD)", an event recognized for introducing national design production abroad and pioneer to bring works of Brazilian designers to be exposed in other countries, helping make room for young talent. Comprises reports published in newspapers and statements from approximately 60 designers and professionals who participated in the event in the past few years, in addition to academic texts about recognized designers, complete the book that registers this important part of the history of Brazilian design, its challenges, dreams and achievements.

Includes recordings of classes and presentations taught through the Stanford University, Department of Mechanical Engineering, Design Division

• Forewords by Helen Hamlyn and Jonny Ive
• Introduction
• Airport
• Ambulance
• Bathroom
• Bank
• Beer Glass
• Bus Stop
• Care Home
• Classroom
• Crutch
• Desk
• Garden
• Garment
• Hospital
• Kitchen
• Light
• Medication
• Mobile Phone
• Office
• Packaging
• Park
• Power Tool
• Public Toilet
• River
• Scooter
• Stairlift
• Street
• Taxi
• Typeface
• Vehicle
• Wheelchair.
• (source: Nielsen Book Data)

The way we experience the world is largely through the design of the places, products, communications, services and systems we encounter every day. Design determines how difficult or easy it is to achieve certain things - whether taking a bath, cooking a meal, crossing the street or making a call, we all want a world that works for us all the time. However, some people are excluded from the simplest and most basic everyday experiences. Why? This is because the act of designing has given insufficient consideration to their level of physical ability or cognitive difference or cultural background or economic circumstance. Over the past 30 years, however, there has been a shift in designing to become more empathic and inclusive of different human needs. The Helen Hamlyn Centre for Design at the Royal College of Art first pioneered the concept of inclusive design in the early 1990s and it has gone on to build an extensive portfolio of collaborative projects over a long period, developing new methods, coaching designers at all levels in the approach and bringing a more inclusive way of thinking about design to international attention. This book shows the parameters of inclusive design through the lens of the centre's own projects in the field. It therefore maps a movement and, at the same time, marks a milestone: the 30th anniversary of the Helen Hamlyn Centre for Design in 2021. 30 everyday artefacts and environments are explored. These vary in scale: some are simple, hand-held objects, while others form part of large and complex environments or systems. Some have reached the market, others we can file under 'ideas for the future'. All reflect an approach which could be described as designing with people as opposed to designing for people.
(source: Nielsen Book Data)

• Acknowledgements Preface Introduction - What is Design? - Design's Relatives - Design's History - The Concepts 1. Information - From Print to Cyberspace - Making Marks - Case Study 1: Emojis - Graphic Identities - Visualizing Data - Case Study 2: Infographics - Finding our Way - The Return to Craft 2. Things - From Mechanization to Automation - Serial Things - Case Study 3: Chairs - Singular Things - Materials - Case Study 4: the Moneymaker Pump - Ethics 3. Interactions - Designing Machines for People - Affordances and Scripts - Case Study 5: Doors - Interface - Software - Case Study 6: the iPhone - Smart Things - Robots 4. Systems and Services - Systems - Mapping Services - Case Study 7: IKEA - Sharing - Hackathons and Jams - Case Study 8: Uber - Social Design - Government Services
• 5. Experiences - Interaction and Emotion - Participation - Case Study 9: Facebook - Inclusive Experience - The Experience Economy - Immersive Entertainment - Case Study 10: Universal Design - Tourism 6. Strategies - Organizational Design - Case Study 11: IBM - Strategic Design - Policy - Problems and Methods - Case Study 12: IDEO - Design Thinking Conclusion - Design in the Anthropocene - Technological Fixations - Design Futures
• Notes Annotated Guide to Further Reading Select Bibliography
• Index.
• (source: Nielsen Book Data)

Design is everywhere. It shapes not only our present but also our future. An essential introductory guide, Design: The Key Concepts covers fundamental design concepts: thinking, service, context, interaction, experience, and systems. Each concept is situated within a broad context, enabling the reader to understand design's contemporary practice and its relationship to issues such as new technology, social and economic development, globalization, and sustainability. Concepts are also explained by use of concise, illustrated case studies of contemporary objects, spaces, systems, and methods such as Uber, the iPhone, Kickstarter and IKEA. Chapter summaries and supporting discussion questions make this an engaging and accessible introduction for students and those new to the field. An annotated bibliography provides direction for further reading.
(source: Nielsen Book Data)

• The prisoner's song
• A very short history of designing
• We the designers
• A new vocabulary
• Design detritus
• Context, context, context
• Designing our future

A call to reclaim and rethink the field of designing as a liberal art where diverse voices come together to shape the material world. We live in a material world of designed artifacts, both digital and analog. We think of ourselves as users; the platforms, devices, or objects provide a service that we can use. But is this really the case? We Are Not Users argues that people cannot be reduced to the entity called "user"; we are not homogenous but diverse. That buzz of dissonance that we hear reflects the difficulty of condensing our diversity into "one size fits all." This book proposes that a new understanding of design could resolve that dissonance, and issues a call to reclaim and rethink the field of designing as a liberal art where diverse voices come together to shape the material world. The authors envision designing as a dialogue, simultaneously about the individual and the social-an act enriched by diversity of both disciplines and perspectives. The book presents the building blocks of a language that can conceive designing in all its richness, with relevance for both theory and practice. It introduces a theoretical model, terminology, examples, and a framework for bringing together the social, cultural, and political aspects of designing. It will be essential reading for design theorists and for designers in areas ranging from architecture to software design and policymaking.
(source: Nielsen Book Data)

• The prisoner's song
• A very short history of designing
• We the designers
• A new vocabulary
• Design detritus
• Context, context, context
• Designing our future

A call to reclaim and rethink the field of designing as a liberal art where diverse voices come together to shape the material world. We live in a material world of designed artifacts, both digital and analog. We think of ourselves as users; the platforms, devices, or objects provide a service that we can use. But is this really the case? We Are Not Users argues that people cannot be reduced to the entity called "user"; we are not homogenous but diverse. That buzz of dissonance that we hear reflects the difficulty of condensing our diversity into "one size fits all." This book proposes that a new understanding of design could resolve that dissonance, and issues a call to reclaim and rethink the field of designing as a liberal art where diverse voices come together to shape the material world. The authors envision designing as a dialogue, simultaneously about the individual and the social-an act enriched by diversity of both disciplines and perspectives. The book presents the building blocks of a language that can conceive designing in all its richness, with relevance for both theory and practice. It introduces a theoretical model, terminology, examples, and a framework for bringing together the social, cultural, and political aspects of designing. It will be essential reading for design theorists and for designers in areas ranging from architecture to software design and policymaking.
(source: Nielsen Book Data)

• List of figures List of contributors Foreword Barry Curtis, Royal College of Art, UK Introduction Zoe Hendon and Anne Massey, independent, UK
• Section I: Millennia, Centuries 1. Designing stone: temporal representation of a timeless material Seher Erdogan Ford, Temple University, USA 2. 'The drama of the soul': time, eternity and evolution in the designs of Phoebe Anna Traquair Sally Anne Huxtable, National Museums Scotland, UK 3. Time aboard the Ghan: Alice Springs to Adelaide, March 2016 Anne Burke, Middlesex University, UK
• Section II: Centuries, Decades, Years 4 As good as apple pie? Post-unification Germany and the reception of public art from the former German Democratic Republic Jessica Jenkins, Falmouth University, UK 5. The story of a Portuguese cock and other knick-knacks: heritage, propaganda and design in a far-right dictatorship Carlos Bartolo, Universidade Lusiada, Portugal 6. An experiment with time: modern and classical influences in the planning of 'high and over' Michael Findlay, Otago Polytechnic, New Zealand 7. Making 'atomic' history: consuming historical narratives in the 'unofficial' digital archive Emily Candela, Royal College of Art, UK 8. A queer feeling and its future in/for design history John Potvin, Concordia University, Canada
• Section III: Days, Hours, Seconds 9. Tube time: How the subterranean city got faster by design David Lawrence, Kingston University and London Transport Museum, UK 10. Dreams of The Fun Palace and Plug-In City: architectural modularism and cybernetics in the 1960s Claire McAndrew, University College London, UK 11. Sign of the times: slow design in the age of social acceleration Niels Peter Skou, University of Southern Denmark, Denmark 12. Fast and slow: design and the experience of time Stephen Hayward, Central St Martins, UK 13. Delivered in less than sixty seconds: temporal references in the design and discourse of digital reading devices Toke Riis Ebbesen, University of Southern Denmark, Denmark Select Bibliography Index.
• (source: Nielsen Book Data)

Design, History and Time reflects on the nature of time in relation to design, in both past and contemporary contexts. In contrast to a traditional design historical approach which emphasises schools and movements, this volume addresses time as a continuum and considers the importance of temporality for design practice and history. Contributors address how designers, design historians and design thinkers might respond to the global challenges of time, the rhythms of work, and the increasing speed of life and communication between different communities. They consider how the past informs the present and the future in terms of design; the importance of time-based design practices such as rapid prototyping and slow design, time in relation to memory and forgetting, and artefacts such as the archive for which time is key, and ponder the design of time itself. Showcasing the work of fifteen design scholars from a range of international contexts, the book provides an essential text for thinking about changing attitudes to the temporal.
(source: Nielsen Book Data)

• List of Illustrations Introduction: National Design Histories in an Age of Globalization Grace-Lees-Maffei and Kjetil Fallan
• Chapter 1. Designs on/in Africa Dipti Bhagat
• Chapter 2. Does Southern African Design History Exist? Deirdre Pretorius
• Chapter 3. Designing The South African Nation: From Nature To Culture Jacques Lange and Jeanne van Eeden
• Chapter 4. Resisting Global Homogeneity but Craving Global Markets: Kiwiana and Contemporary Design Practice in New Zealand Claudia Bell
• Chapter 5. Creativity within a Geographical-National Framework: From Modern Japanese Design to Pevsner's Art Geography Ariyuki Kondo
• Chapter 6. Imagining the Indian Nation: The Design of Gandhi's Dandi March and Nehru's Republic Day Parade Suchitra Balasubrahmanyan
• Chapter 7. Troubled Geography: Imagining Lebanon in 1960s Tourist Promotion Zeina Maasri
• Chapter 8. Czech Glass or Bohemian Crystal? The Nationality of Design in the Czech Context Marta Filipova
• Chapter 9. The Myth of Danish Design and the Implicit Claims of Labels Stina Teilmann-Lock
• Chapter 10. Altering a Homogenized Heritage: Articulating Heterogeneous Material Cultures in Norway and Sweden Kjetil Fallan and Christina Zetterlund
• Chapter 11. A Special Relationship: The UK-US Transatlantic Domestic Dialogue Grace Lees-Maffei
• Chapter 12. Surveying the Borders: Authenticity in Mexican-American Food Packaging, Imagery and Architecture Nicolas P. Maffei
• Chapter 13. An Empire of One's Own: Individualism and Domestic Built Form in 21st Century Jamaica Davinia Gregory
• Chapter 14. The Quest for Modernity: A Global/National Approach to a History of Design in Latin America Patricia Lara-Betancourt
• Chapter 15. Of Coffee, Nature and Exclusion: Designing Brazilian National Identity at International Exhibitions 1867 & 1904 Livia Rezende Notes on Contributors Index.
• (source: Nielsen Book Data)

From consumer products to architecture to advertising to digital technology, design is an undeniably global phenomenon. Yet despite their professed transnational perspective, historical studies of design have all too often succumbed to a bias toward Western, industrialized nations. This diverse but rigorously curated collection recalibrates our understanding of design history, reassessing regional and national cultures while situating them within an international context. Here, contributors from five continents offer nuanced studies that range from South Africa to the Czech Republic, all the while sensitive to the complexities of local variation and the role of nation-states in identity construction.
(source: Nielsen Book Data)

This book is not a dictionary, though it tells you all you need know about everything from Authenticity to Zips. It's not an autobiography, though it does offer a revealing and highly personal inside view of contemporary culture. It's an essential tool kit for understanding the world around us. It's about what makes a Warhol a genuine fake; the creation of national identities; the mania to collect. It's also about the city as seen from the rear view mirror of Grand Theft Auto V; digital ornament and why we value imperfection. It's about drinking a bruisingly dry martini in Adolf Loo's American bar in Vienna, and about Hitchcock's film sets. It's about the modern world of fashion, technology, design and art. Born in London, Deyan Sudjic studied architecture in Edinburgh, edited Domus in Milan, was the director of the Venice architecture biennale, and a curator in Glasgow, Istanbul and Copenhagen. The author of The Language of Things and The Edifice Complex, Deyan Sudjic is now Director of the Design Museum, London.
(source: Nielsen Book Data)

• Designological Ideas
• Design as Human Action
• Domains of Application.

The more complex a human action is, the greater the need to formulate a plan of action, devise a method of implementation, and evaluate its execution. Such preparation is called design or planning, and can be defined as a conceptual preparation for action. Design and planning by themselves are so complex and important that they need informed preparation, which calls for systematic designological studies. This volume brings together original contributions of researchers and practitioners in design theory, design research, and design studies. Its main purpose is to highlight the possibilities of the discipline of designology. Doing and thinking, or thinking and doing, whatever the order, are intertwined. That is why praxiology, the science of action, defines design as a conceptual preparation of action. Included here are contributions from Jack Brzezinski, Eduardo Corte-Real, Nigel Cross, Michel Faucheux, Joelle Forest, Wojciech W. Gasparski, Ioannes B. Kapelouzos, Thorbjoern Mann, Tom Maver, Tarkko Oksala, Tufan Orel, Sevil Saryldz, and Ladislav Tondl. Designology is the latest volume in Transaction's highly regarded Praxiology series.
(source: Nielsen Book Data)

• Hello world
• What is design?
• What is a designer?
• What is good design?
• Why good design matters
• So why is so much design so bad?
• Why everyone wants to 'do an Apple'
• Why design is not and should never be confused with art
• Sign of the times
• When a picture says more than words
• It's not that easy being green
• Why form no longer follows function
• Me, myself and I
• What about 'the other 90%'?
• Redesigning design.

Hello World is Alice Rawsthorn's definitive guide to design and modern life Design is one of the most powerful forces in our lives. When deployed wisely, it can bring us pleasure, choice, strength, decency and much more. But if its power is abused, the outcome can be wasteful, confusing, humiliating, even dangerous. None of us can avoid being affected by design, whether or not we wish to. It is so ubiquitous that it determines how we feel and what we do, often without our noticing. Hello World explores design's influence on our lives. Written by the renowned design critic Alice Rawsthorn and designed by the award-winning book designer Irma Boom, it describes how warlords, scientists, farmers, hackers, activists and designers have used design to different ends throughout history: from the macabre symbol invented by 18th century pirates to terrorise their victims into surrender, to one woman's quest for the best possible prosthetic legs and the evolution of the World Cup ball. At a time when we face colossal changes, unprecedented in their speed, scale and intensity - from the deepening environmental crisis, to giant leaps in science and technology - Hello World explains how design can help us to make sense of them andto turn them to our advantage. 'Hello World is a new book by Alice Rawsthorn, the one and only, the best design critic in the entire world. She keeps the banner of design flying high. Irma Boom designed it, and Irma is simply the best book designer alive' Paola Antonelli, Senior Curator of Architecture and Design at the Museum of Modern Art, New York Praise for Alice Rawsthorn's Yves Saint Laurent 'As gripping as a thriller, packed with plot, character and atmosphere' The Times 'Rawsthorn's excellent biography isn't merely a story about clothes, but of crises, comebacks and drug clinics, and as a document of the time it is compulsive' Evening Standard 'The best book I have ever read about the mesmerising cruelty of fashion' The Spectator 'Intelligent and pragmatic... this is a page-turner of a book' New Statesman 'What a story! A skilful interweaving of the artistic, business and emotional life of a great couture house' Mail on Sunday Alice Rawsthorn is the design critic of the International Herald Tribune, the global edition of the New York Times. Her weekly Design column is syndicated worldwide. A trustee of Arts Council England and the Whitechapel Gallery in London, she is chair of trustees at the Chisenhale Gallery and the author of an acclaimed biography of Yves Saint Laurent.
(source: Nielsen Book Data)

• List of Illustrations Acknowledgements Introduction: Interrogating Iconic Design, Grace Lees-Maffei PART ONE: HOT IN THE CITY Part Introduction
• 1. Eiffel Tower, France (Gustave Eiffel, 1889), Claire Jones, post doctoral research fellow on the AHRC-funded project Displaying Victorian Sculpture, UK
• 2. Ford Model T, USA (Henry Ford, 1908), Paul Hazell, University of Worcester, UK
• 3. London Underground Diagram, UK (1931), Christoph Lueder, ETH Zurich, Canterbury School of Architecture and Kingston University, UK
• 4. Tuk-Tuk, Italy/Thailand (Corradino D'Ascanio, 1948-), Thomas Brandt, Norwegian University of Science and Technology, Norway
• 5. Sydney Opera House, Australia (Jorn Utzon, Denmark, 1957-73), D.J. Huppatz, Swinburne University of Technology, Australia
• 6. McDonald's Golden Arches Logo, USA (Jim Schindler, 1962), D.J. Huppatz, Swinburne University of Technology, Australia
• 7. Mobility Scooter, USA (Allen R. Thieme, 1968), Nicolas P. Maffei, Norwich University College of the Arts, UK
• 8. Concorde, France/UK (Pierre Satre/Sir Archibald Russell, Aerospatiale/BAe, 1969), Amy Foster, University of Central Florida, USA
• 9. The London Eye, UK (Marks Barfield Architects, 1999), Jilly Traganou, Parsons The New School for Design, USA and Grace Vetrocq Tuttle, communication design specialist, USA
• 10. The Palm Islands, Dubai, UAE (Nakheel Properties, 2001-), Dolly Jorgensen, Umea University, Sweden PART TWO: PAGE TURNERS AND SCREEN SIRENS Part Introduction
• 11. Isotype, Austria (Marie Reidemeister, Otto Neurath, Gerd Arntz, 1925-1934), Ellen Lupton, Maryland Institute College of Art, USA
• 12. Metropolis, Germany (Fritz Lang, 1927), Nathaniel Robert Walker, Ph.D. student at Brown University, USA
• 13. Penguin Books, UK (Allen Lane, 1935 and Jan Tschichold, 1947-9), Paul Shaw, Parsons School of Design, USA
• 14. Helvetica, Switzerland (Max Miedinger and Eduard Hoffman, 1957), Kerry William Purcel, lThe University of Hertfordshire, UK
• 15. Sgt. Pepper's Lonely Hearts Club Band cover, UK (Peter Blake and Jann Haworth, 1967), Alice Twemlow, School of Visual Arts, USA
• 16. Graphical User Interface (GUI), USA (Apple, 1984), Paul Atkinson, Sheffield Hallam University, UK
• 17. Benetton Advertising Campaigns, Italy (Oliviero Toscani, 1986-), Celia Lury, University of Warwick, UK
• 18. Ray Gun, USA (David Carson, 1992-1995), Julia Moszkowicz, Southampton Solent University, UK
• 19. Ebay.com, USA (Pierre Omidyar, 1995), Ida Engholm, The Royal Danish Academy of Fine Arts, Denmark
• 20. Facebook, USA (Mark Zuckerberg, Eduardo Saverin, Dustin Moskovitz, Chris Hughes, 2003), Alison Gazzard, University of Hertfordshire, UK PART THREE: GENIUS AT WORK Part Introduction
• 21. Paper Clip, USA (Samuel B. Fay, 1867), Joe Moran, Liverpool John Moores University, UK
• 22. Wooton Desk, USA (William S. Wooton, 1874), Kenneth L. Ames, Bard Graduate Center, USA
• 23. Incandescent Light Bulb, USA (Thomas Edison, 1880), Carroll Pursell, Australian National University, Australia
• 24. Streamlined Pencil Sharpener, USA (Raymond Loewy, 1933), Nicolas P. Maffei, Norwich University College of the Arts, UK
• 25. Bic Cristal Pen, France (Societe PPA, 1950), Susan Lambert, Victoria and Albert Museum, UK
• 26. Polypropylene Chair, UK (Robin Day, 1960-63), Susan Lambert, Victoria and Albert Museum, UK
• 27. Valentine Typewriter, Italy (Ettore Sottsass Jr. and Perry A. King for C. Olivetti S.p.A., 1969), Penny Sparke, Kingston University, UK
• 28. Rubik's Cube, Hungary (Erno Rubik, 1974), Kjetil Fallan, University of Oslo, Norway
• 29. Post-it Note, USA, 1980 (Spencer Silver and Arthur Fry for 3M), Alice Twemlow, School of Visual Arts, USA
• 30. Apple iMac G3, USA (Jonathan Ive for Apple, 1998), Paul Atkinson, Sheffield Hallam University, UK PART FOUR: HOME RULES Part Introduction
• 31. Portland Vase, UK (Josiah Wedgwood, 1789), Glenn Adamson, Victoria and Albert Museum, UK
• 32. Heinz 57 Varieties (Henry J. Heinz & L. Clarence Noble, 1869), Michael Golec, The School of the Art Institute of Chicago, USA
• 33. 'Strawberry Thief', UK (William Morris, 1883), Emma Ferry, Nottingham Trent University, UK
• 34. Frankfurt Kitchen, Germany (Grete Lihotzky, 1926), Finn Arne Jorgensen, Umea University, Sweden
• 35. Clubsessel 'B3' 'Wassily' Chair, Germany (Marcel Breuer, 1927), Clive Edwards, Loughborough University, UK
• 36. Princess Telephone, USA (Henry Dreyfuss for Bell Telephone, 1959), Lasse Brunnstrom, University of Gothenburg, Sweden
• 37. LEGO, Denmark (Ole Kirk Christiansen, 1958), Kjetil Fallan, University of Oslo, Norway
• 38. Barbie, USA (Ruth Handler/Mattel, 1959), Juliette Peers, RMIT University, Australia
• 39. Juicy Salif Lemon Squeezer, Italy/France (Philippe Starck, 1990), Grace Lees-Maffei, University of Hertfordshire, UK
• 40. Dyson DC01 Vacuum Cleaner, UK (James Dyson, 1993), Louise Crewe, University of Nottingham, UK PART FIVE: PERSONAL EFFECTS Part Introduction
• 41. Chopsticks, China (c. 3,000 BC), Yunah Lee, University of Brighton, UK
• 42. Zori and Flip-flop Sandal, Japan/World (n.d.), Martha Chaiklin, University of Pittsburgh, USA
• 43. Levi's Jeans, USA (Jacob Davis and Levi Strauss & Co., 1873), Christopher Breward, University of Edinburgh, UK
• 44. Swiss Army Knife, Switzerland (Karl Elsener, Victorinox, 1891), Catharine Rossi, Kingston University, UK
• 45. Brownie Camera, USA (Eastman Kodak, 1900), Marc Olivier, Brigham Young University, USA
• 46. Chanel Suit, France (Coco Chanel, c. 1913), Hazel Clark, Parsons the New School for Design, USA
• 47. Coca-Cola Bottle, USA (Earl R. Dean, 1915), Finn Arne Jorgensen, Umea University, Sweden
• 48. Hello Kitty, Japan (Yuko Shimizu for Sanrio, 1974), Brian J. McVeigh, University of Arizona, USA
• 49. Sony Walkman, Japan (Nobutoshi Kihara, 1978), Juliette Kristensen, Kingston University, UK
• 50. Wind-Up Radio, UK/South Africa (Trevor Baylis, 1992), Gabriele Oropallo, University of Oslo, Norway Notes Contributors Select Bibliography Index.
• (source: Nielsen Book Data)

By returning to the etymological roots of iconicity and showcasing objects which are distinctive, memorable, internationally recognised and the subject of significant media attention, this text addresses what we mean by 'iconic' and how that aids our understanding of design and of iconicity. 50 compact chapters examine designs ranging from everyday goods to high-end 'designer' objects and explores how iconicity was established and how it contributes to our understanding of iconic design, by considering production, consumption and legacy alongside similar or contemporaneous objects. The book is divided into five parts, each addressing a thematic locus, arranged in a sequence from the public to the personal. This structure demonstrates that icons are not only a public phenomenon but infiltrate our intimate self-identity, in the form of objects which we carry with us and contribute to our sense of self. With significantly longer object entries than standard texts, this is essential reading for students and scholars of design history, design criticism, design studies and material culture studies, museum studies, art and architectural history, architecture and design practice.
(source: Nielsen Book Data)
Iconic Designs is a beautifully designed and illustrated guide to fifty classic 'things' - designs that we find in the city, in our homes and offices, on page and screen, and in our everyday lives. In her introduction, Grace Lees-Maffei explores the idea of iconicity and what makes a design 'iconic', and fifty essays by leading design and cultural critics address the development of each iconic 'thing', its innovative and unique qualities, and its journey to classic status. Subjects range from the late 19th century to the present day, and include the Sydney Opera House, the Post-It Note, Coco Chanel's classic suit, the Sony Walkman(TM), Hello Kitty(TM), Helvetica, the Ford Model T, Harry Beck's diagrammatic map of the London Underground and the Apple iMac G3. This handsome volume provides a treasure trove of 'stories' that will shed new light on the iconic designs that we use without thinking, aspire to possess, love or hate (or love to hate) and which form part of the fabric of our everyday lives.
(source: Nielsen Book Data)

• Introduction
• SECTION 1: THE DESIGN PROCESS Section Introduction 1. The Passport to Practice, Michael Tovey, Coventry University, UK 2. Design Thinking, Maureen Carroll, Leticia Britos & Shelley Goldman, Stanford University, USA 3. Problem Finding and Problem Solving, Tatjana Leblanc, Universite de Montreal, Canada 4. Designing Design, Alison McKay, University of Leeds, UK Design Project 1
• SECTION 2: MODELLING, DRAWING AND COMPUTING Section Introduction 5. Models of Design and Models in Design, Jack Ingram, Birmingham City University, UK 6. Why do Designers Draw?, Mario Minichiello & Liz Anelli, Birmingham City University, UK 7. Computer Aided Design: Past, Present, Future, Jonathon Allen & Paul Kouppas, University of Western Sydney, Australia 8. Designing Berlin, David Heathcote & Dorothea Strube, Design authors, UK/Germany Design Project 2
• SECTION 3: DESIGNING FOR PEOPLE Section Introduction 9. User-centered Design, Barbara Millet & Patrick Patterson, Texas Tech University, USA 10. Design Semiotics, Bob Eves, Bournemouth University, UK 11. Designing for Mood, Randall Teal, University of Idaho, USA 12. Ethics and Design: I Can but Should I?, Bryce T J Dyer, Bournemouth University, UK Design Project 3
• SECTION 4: BUSINESS, MARKETS AND CLIENTS Section Introduction 13. The Business of Design, Stephen Peake, The Open University, UK 14. The Design Brief: Are You Listening?, Andrew Collier, Director, SMC Design, UK 15. Designing for Markets, Richard Woolley, Land Rover, UK 16. Creative Analysis in Packaging Design, Luiz Gomes & Ligia Medeiros, Universitario Ritter dos Reis, Brazil Design Project 4
• SECTION 5: SUSTAINABLE DESIGN AND DESIGNING Section Introduction 17. Old Materials, New Materials, Terence Kavanagh, Loughborough University School of the Arts, UK 18. Designing for Life Cycles, Philip A Davies, Aston University, UK 19. Is Sustainable Design Viable?, Tom Greenwood, Strategist, Scamper Branding, UK 20. Eco-intelligence: Designing for the Real World, Emma Dewberry, The Open University, UK Design Project 5
• SECTION 6: THE PROFESSIONAL PRACTICE OF DESIGN Section Introduction 21. Building Bridges to New Realms, Brigid O'Kane, University of Cincinnati, USA 22. User-centered Collaboration in Graphic Design, Sharon Helmer Poggenpohl, Designer & Author, USA 23. The Importance of Detail Design, Clyde Millard, Designer, UK 24. Developing Your Intellectual Property, Claire Howell, Barrister & Senior Lecturer in Law, Aston University, UK Design Project 6
• SECTION 7: DESIGN FUTURES Section Introduction 25. Games Design and the Importance of Narrative, Michele D. Dickey, Miami University, Ohio, USA 26. Complexity: What Designers Need to Know, Theodore Zamenopoulos & Katerina Alexiou, The Open University, UK 27. Managing Design: A Roadmap to a Career, Jon Hewitt, Designer, UK 28. The Future of Design and Designing, Steve Garner, The Open University, UK & Chris Evans, Aston University, UK Design Project 7 Endnotes Bibliography Index.
• (source: Nielsen Book Data)

• Introduction
• SECTION 1: THE DESIGNING PROCESS Section Introduction 1. The Passport to Practice, Michael Tovey, Coventry University, UK 2. Design Thinking, Maureen Carroll, Leticia Britos Cavagnaro and Shelley Goldman, Stanford University, USA 3. Problem Finding and Problem Solving, Tatjana Leblanc, Universit de Montr al, Canada 4. Designing Design, Alison McKay, University of Leeds, UK Design Project 1 Design process game
• SECTION 2: CREATING AND COMMUNICATING Section Introduction 5. Models of Design and Models in Design, Jack Ingram, Birmingham City University, UK 6. Why do Designers Draw?, Mario Minichiello and Liz Anelli, Birmingham City University, UK 7. Computer Aided Design: Past, Present, Future, Jonathon Allen and Paul Kouppas, University of Western Sydney, Australia 8. Games Design and the Importance of Narrative, Michele D. Dickey, Miami University, Ohio, USA Design Project 2 Inspiration
• SECTION 3: DESIGNING FOR PEOPLE Section Introduction 9. User-centred Design, Barbara Millet and Patrick Patterson, Texas Tech University, USA 10. Design Semiotics, Bob Eves, Bournemouth University, UK 11. Designing for Mood, Randall Teal, University of Idaho, USA 12. Ethics and Design: I Can but Should I?, Bryce T J Dyer, Bournemouth University, UK Design Project 3 Hand hygiene
• SECTION 4: BUSINESS, MARKETS AND CLIENTS Section Introduction 13. The Business of Design, Stephen Peake, The Open University, UK 14. The Design Brief: Are You Listening?, Andrew Collier, Director, SMC Design, UK 15. Designing for Markets, Richard Woolley, Land Rover, UK 16. Creative Analysis in Packaging Design, Luiz Gomes and Ligia Medeiros, Universit rio Ritter dos Reis, Brazil Design Project 4 Where in the world?!
• SECTION 5: SUSTAINABLE DESIGN AND DESIGNING Section Introduction 17. Berlin: A Sustained City, David Heathcote and Dorothea Strube, Design authors, UK/Germany 18. Designing for Life Cycles, Philip A Davies, Aston University, UK 19. Is Sustainable Design Viable?, Tom Greenwood, Strategist, Scamper Branding, UK 20. Eco-intelligence: Designing for the Real World, Emma Dewberry, The Open University, UK Design Project 5 Global lessons 2024
• SECTION 6: THE PROFESSIONAL PRACTICE OF DESIGN Section Introduction 21. Old Materials, New Materials, Terence Kavanagh, Loughborough University School of the Arts, UK 22. User-centred Collaboration in Graphic Design, Sharon Helmer Poggenpohl, Designer & author, USA 23. The Importance of Detail Design, Clyde Millard, Designer, UK 24. Developing Your Intellectual Property, Claire Howell, Barrister & Senior Lecturer in Law, Aston University, UK Design Project 6 Team of 24
• SECTION 7: DESIGN FUTURES Section Introduction 25. Building Bridges to New Realms, Brigid O'Kane, University of Cincinnati, USA 26. Complexity: What Designers Need to Know, Theodore Zamenopoulos and Katerina Alexiou, The Open University, UK 27. Managing Design: A Roadmap to a Career, Jon Hewitt, Designer, UK 28. Motivation and the Learningscape of Design, Steve Garner, The Open University, UK and Chris Evans, Aston University, UK Design Project 7 24 carat designing Endnotes Bibliography Index.
• (source: Nielsen Book Data)

Design and Designing will provide the reader with a very broad and critical understanding of what is an essentially practical subject. Designing today is less a craft and more a part of the knowledge economy. It's all about knowing how to acquire knowledge and how to creatively apply it. Design and Designing covers the design process, modelling and drawing, working with clients, production and consumption, sustainability, professional practice and design futures. Chapters are written by expert teachers and practitioners from around the globe, each aiming to present an accessible and engaging overview of their part of Design. Chapters are illustrated with a wide range of images and information boxes, which extend or highlight key material. Each section concludes with a Design Project, a hands-on activity for the reader. Design and Designing covers the full range of the subject from graphic communication, to product design, to fashion and games design, setting all in their aesthetic, ethical and social contexts. The aim is for the reader to learn from today's best practice and best thinking, to develop a critical sense, to become the designers of tomorrow.
(source: Nielsen Book Data)
Design and Designing provides a broad and critical understanding of what is essentially a practical subject. Designing today is less a craft and more a part of the knowledge economy. It's all about knowing how to acquire knowledge and how to apply it creatively. Design and Designing covers the design process, modelling and drawing, working with clients, production and consumption, sustainability, professional practice and design futures. Chapters are written by expert teachers and practitioners from around the globe, each presenting an accessible and engaging overview of their field of design. Every chapter is highly illustrated with a combination of images and information boxes, which extend or highlight key material. Each section concludes with a design project, a hands-on activity for the reader. Design and Designing covers the full spectrum of design types, from graphic communication to product design, from fashion to games design, setting every type in its aesthetic, ethical and social contexts. With this essential book, readers will learn from today's best practice and best thinking in design, they will develop a critical sense, and become the designers of tomorrow.
(source: Nielsen Book Data)