Illuminating three centuries of European artistry and ingenuity, this volume in The Met’s acclaimed How to Read series provides a wide-ranging exploration of decorative arts from British writing tables to Russian snuffboxes Spanning three centuries of creativity, from the High Renaissance to the Industrial Revolution, this volume in The Met’s How to Read series provides a peek into daily lives across Europe—from England, Spain, and France to Germany, Denmark, and Russia. Featuring 40 exemplary objects, including furniture, tableware, utilitarian items, articles of personal adornment, devotional objects, and display pieces, this publication covers many aspects of European society and lifestyles, from the modest to the fabulously wealthy. The book considers the contributions of renowned masters, such as the Dutch cabinetmaker Jan van Mekeren and the Italian goldsmith Andrea Boucheron, as well as talented amateurs, among them the anonymous young Englishwoman who embroidered an enchanting chest with scenes from the Story of Esther. The works selected include both masterpieces and less familiar examples, some of them previously unpublished, and are discussed not only in light of their art-historical importance but also with regard to the social issues relevant to each, such as the impact of colonial slavery or the changing status of women artists. Published by The Metropolitan Museum of Art/Distributed by Yale University Press

A history of design that is often overlooked-until we need it Have you ever hit the big blue button to activate automatic doors? Have you ever used an ergonomic kitchen tool? Have you ever used curb cuts to roll a stroller across an intersection? If you have, then you've benefited from accessible design-design for people with physical, sensory, and cognitive disabilities. These ubiquitous touchstones of modern life were once anything but. Disability advocates fought tirelessly to ensure that the needs of people with disabilities became a standard part of public design thinking. That fight took many forms worldwide, but in the United States it became a civil rights issue; activists used design to make an argument about the place of people with disabilities in public life. In the aftermath of World War II, with injured veterans returning home and the polio epidemic reaching the Oval Office, the needs of people with disabilities came forcibly into the public eye as they never had before. The US became the first country to enact federal accessibility laws, beginning with the Architectural Barriers Act in 1968 and continuing through the landmark Americans with Disabilities Act in 1990, bringing about a wholesale rethinking of our built environment. This progression wasn't straightforward or easy. Early legislation and design efforts were often haphazard or poorly implemented, with decidedly mixed results. Political resistance to accommodating the needs of people with disabilities was strong; so, too, was resistance among architectural and industrial designers, for whom accessible design wasn't "real" design. Bess Williamson provides an extraordinary look at everyday design, marrying accessibility with aesthetic, to provide an insight into a world in which we are all active participants, but often passive onlookers. Richly detailed, with stories of politics and innovation, Williamson's Accessible America takes us through this important history, showing how American ideas of individualism and rights came to shape the material world, often with unexpected consequences.

Being a professional designer is one of the most intellectually rewarding careers. Learning to become a designer can be tremendous fun but it can also be frustrating and at times painful. What you have to do to become a designer is not often clearly laid out and can seem mysterious. Over the past 50 years or so we have discovered a great deal about how designers think. This book relies upon that knowledge but presents it in a way specifically intended to help the student and perhaps the teacher. Bryan Lawson's classic book How Designers Think has been in print since 1980 and has gone through four editions to keep it up to date. This book can be seen as a companion volume for the design student.

The notion of data is increasingly encountered in spatial, creative and cultural studies. Big data and artificial intelligence are significantly influencing a number of disciplines. Processes, methods and vocabularies from sciences, architecture, arts are borrowed, discussed and tweaked, and new cross-disciplinary fields emerge. More and more, artists and designers are drawing on hard data to interpret the world and to create meaningful, sensuous environments. Architects are using neurophysiological data to improve their understanding of people's experiences in built spaces. Different disciplines collaborate with scientists to visualise data in different and creative ways, revealing new connections, interpretations and readings. This often demonstrates a genuine desire to comprehend human behaviour and experience and to - possibly - inform design processes accordingly. At the same time, this opens up questions as to why this desire and curiosity is emerging now, how it relates to recent technological advances and how it converses with the cultural, philosophical and methodological context of the disciplines with which it engages. Questions are also raised as to how the use of data and data-informed methods may serve, support, promote and/or challenge political agendas. Data, Architecture and the Experience of Place provides an overview of new approaches on this significant subject and is ideal for students and researchers in digital architecture, architectural theory, design, digital media, sensory studies and related fields.

Ethics is one of the most important and least understood aspects of design practice. In his latest book, Thomas Fisher shows how ethics are inherent to the making of architecture - and how architecture offers an unusual and useful way of looking at ethics. The Architecture of Ethics helps students in architecture and other design disciplines to understand the major approaches to ethics and to apply them to the daily challenges they face in their work. The book covers each of the four dominant approaches to ethics: virtue ethics, social contract ethics, duty ethics, and utilitarian ethics. Each chapter examines the dilemmas designers face from the perspective of one of these categories. Written in an accessible, jargon-free style, the text also features 100 illustrations to help integrate these concepts into the design process and to support visual understanding. Ethics is now a required part of accredited architecture programs, making this book essential reading for all students in architecture and design.

In his latest book, Michael Betancourt explores the nature and role of typography in motion graphics as a way to consider its distinction from static design using the concept of the 'reading-image' to model the ways that motion typography dramatizes the process of reading and audience recognition of language on-screen. Using both classic and contemporary title sequences-including The Man With the Golden Arm (1955), Alien (1979), Flubber (1998), Six Feet Under (2001), The Number 23 (2007) and Scott Pilgrim vs. The World (2010)-Betancourt develops an argument about what distinguishes motion graphics from graphic design. Moving beyond title sequences, Betancourt also analyzes moving or kinetic typography in logo designs, commercials, film trailers, and information graphics, offering a striking theoretical model for understanding typography in media.

The notion of data is increasingly encountered in spatial, creative and cultural studies. Big data and artificial intelligence are significantly influencing a number of disciplines. Processes, methods and vocabularies from sciences, architecture, arts are borrowed, discussed and tweaked, and new cross-disciplinary fields emerge. More and more, artists and designers are drawing on hard data to interpret the world and to create meaningful, sensuous environments. Architects are using neurophysiological data to improve their understanding of people's experiences in built spaces. Different disciplines collaborate with scientists to visualise data in different and creative ways, revealing new connections, interpretations and readings. This often demonstrates a genuine desire to comprehend human behaviour and experience and to - possibly - inform design processes accordingly. At the same time, this opens up questions as to why this desire and curiosity is emerging now, how it relates to recent technological advances and how it converses with the cultural, philosophical and methodological context of the disciplines with which it engages. Questions are also raised as to how the use of data and data-informed methods may serve, support, promote and/or challenge political agendas. Data, Architecture and the Experience of Place provides an overview of new approaches on this significant subject and is ideal for students and researchers in digital architecture, architectural theory, design, digital media, sensory studies and related fields.

In Patterns: Design and Composition, M. A. Hann and I. S. Moxon present guidelines for the original design and composition of regular patterns alongside an understanding of the inherent structures of these patterns. Starting with the compositional elements, Hann and Moxon take the reader through patterns in the environment, early forms of patterns and aspects of classification based on circles, squares, triangles and symmetry. With 250 images sourced from past examples as well as student work, this essential read for design students and researchers demonstrates how simplicity begets complexity in the design and composition of regular patterns.

This book is a collection of essays at the intersection of architecture and climate change. Neither a collective lament nor an inventory of architectural responses, the essays consider cultural values ascribed to climate and ask how climate reflects our conception of what architecture is and does. Which materials and conceptual infrastructures render climate legible, knowable, and actionable, and what are their spatial implications? How do these interrelated questions offer new vantage points on the architectural ramifications of climate change at the interface of resiliency, sustain- ability, and ecotechnology? Climates also contains a dossier of precedents for thinking about architecture and climate change drawn from a number of leading practitioners. New approaches to understanding climate in architecture make this book invaluable.This publication is a project by The Avery Review, a journal produced by the Office of Publications at Columbia University's Graduate School of Architecture, Planning and Preservation.

The 44 black-and-white photographs presented here have been selected from the many pictures taken by Ferdinando Scianna on a succession of visits made to Venice between May and June in 2016: they take the form of notes, a series of precise annotations on the course of daily life in a neighbourhood of the city. The result of his work is a lucid and vivid photographic reportage on the Venice Ghetto in the late spring of this year filled with initiatives organized to mark the 500th anniversary of the setting up of the first enclave for the segregation of Jews in the world, the one in Venice. On March 29, 1516, the Senate of the Venetian Republic had in fact decided that all the Jews present in the city should be sent to live together in a courtyard of houses at Cannaregio.

Interior Design Masters contains 300 biographical entries of people who have significantly impacted design. They are the people, historical and contemporary, that students and practitioners should know. Coverage starts in the late Renaissance, with a focus on the twentieth and twenty-first centuries. The book has five sections, with the entries alphabetical in each, so it can serve as a history textbook and a reference guide. The seventeeth- and eighteenth-century section covers figures from Thomas Chippendale to Horace Walpole. The nineteenth-century section includes William Morris and Candace Wheeler. The early twentieth-century section presents modernism's design heroes, including Marcel Breuer, Eileen Gray, and Gilbert Rohde. The post-World War II designers range from Madeleine Castaing to Raymond Loewy. The final contemporary section includes Ron Arad and the Bouroullec brothers. These are the canonical figures who belong to any design history. The book also contains less well-known figures who deserve attention, such as Betty Joel, the British art deco furniture designer; Paul Veysseyre, the Frenchman active in China in the 1930s; and more recently Lanzavecchia-Wai, the Italian-Singaporean duo whose work ranges from health care to helicopters. Global in its coverage, the book is richly illustrated with over 600 black-and-white and color photographs.

The creative strategies in Design for Transformative Learning offer a playful and practical approach to learning from and adapting to a rapidly changing world. Seeing continuous learning as more than the periodic acquisition of new skills this book presents a design-led approach to revising the stories we tell ourselves, unlearning old habits and embracing new practices. This book maps learning opportunities across the contemporary landscape, narrating global case studies from K12, higher education, design consultancies and researchers. It offers narrative context, best practices and emergent strategies for how designers can partner in the important work of advancing a lifetime of learning. Committed to driving sustained transformation this is a playbook of practical moves for designing memory-making, perspective-shifting, hands-on learning encounters. The book braids stories from design practice with theories of change, transformative learning literature, cognitive and social psychology research, affect theory and Indigenous knowing. Positioning the COVID-19 pandemic as a moment to question what was previously normalised, the book proposes playful strategies for seeding transformational change. The relational practice at the core of Design for Transformative Learning argues that if learning is to be transformative the experience must be embodied, cognitive and social. This book is an essential read for design and social innovation researchers, facilitators of community engagement and co-design workshops, design and arts educators and professional learning designers. It is a useful primer for K12 teachers, organisational change practitioners and professional development facilitators curious to explore the intersection of design and learning. The companion website for the book is a practical resource that connects to many of the projects, activities, methods, designers and stories introduced in the book. The site includes links to downloadable colour diagrams, templates for digital learning encounters, and additional reflective narratives on transformative experiences. www.designingtransformativelearning.com

Interior Design Masters contains 300 biographical entries of people who have significantly impacted design. They are the people, historical and contemporary, that students and practitioners should know. Coverage starts in the late Renaissance, with a focus on the twentieth and twenty-first centuries. The book has five sections, with the entries alphabetical in each, so it can serve as a history textbook and a reference guide. The seventeeth- and eighteenth-century section covers figures from Thomas Chippendale to Horace Walpole. The nineteenth-century section includes William Morris and Candace Wheeler. The early twentieth-century section presents modernism's design heroes, including Marcel Breuer, Eileen Gray, and Gilbert Rohde. The post-World War II designers range from Madeleine Castaing to Raymond Loewy. The final contemporary section includes Ron Arad and the Bouroullec brothers. These are the canonical figures who belong to any design history. The book also contains less well-known figures who deserve attention, such as Betty Joel, the British art deco furniture designer; Paul Veysseyre, the Frenchman active in China in the 1930s; and more recently Lanzavecchia-Wai, the Italian-Singaporean duo whose work ranges from health care to helicopters. Global in its coverage, the book is richly illustrated with over 600 black-and-white and color photographs.

Filling a critical gap in Vienna 1900 studies, this book offers a new reading of fin-de-siecle culture in the Austro-Hungarian Monarchy by looking at the unusual and widespread preoccupation with embroidery, fabrics, clothing, and fashion - both literally and metaphorically. The author resurrects lesser known critics, practitioners, and curators from obscurity, while also discussing the textile interests of better known figures, notably Gottfried Semper and Alois Riegl. Spanning the 50-year life of the Dual Monarchy, this study uncovers new territory in the history of art history, insists on the crucial place of women within modernism, and broadens the cultural history of Habsburg Central Europe by revealing the complex relationships among art history, women, and Austria-Hungary. Rebecca Houze surveys a wide range of materials, from craft and folk art to industrial design, and includes overlooked sources-from fashion magazines to World's Fair maps, from exhibition catalogues to museum lectures, from feminist journals to ethnographic collections. Restoring women to their place at the intersection of intellectual and artistic debates of the time, this book weaves together discourses of the academic, scientific, and commercial design communities with middle-class life as expressed through popular culture.

Design is one of the most rapidly changing fields in the art world, as professionals, students, and teachers must reckon with new technologies before the older versions have much time to collect dust. In "The Designer," Rosemary Sassoon surveys fifty years of change in the world of design, evaluating the skills that have been lost, how new techniques affect everyday work, and how training methods prepare students for employment. This indispensable volume reveals how design is both an art and a skill--one with a rich past and momentous relevance for the future.
Along the way, Sassoon traces the fascinating trajectory of her own career, from its beginning at art school and an early apprenticeship to her work as an established professional, with advice for designers at every stage of their own development. Weaving together biography and career advice, theory and practice, "The Designer" provides a unique history of the art form and looks ahead to an age of ever-changing attitudes to drawing, aesthetics, and artistic practice.

Brand risk is often narrowly defined as risk to reputation. Yet risk and uncertainty are evident in many aspects of brand performance and marketing operations. Considered and responsible risk-taking is central to effective brand management. Risk literacy is the marketer's third necessary competence, alongside strategic insight and financial understanding. In Brand Risk, a practical and accessible book for those who hold responsibilities in marketing or risk management, David Abrahams brings together relevant risk thinking and a range of techniques for the evaluation of brand exposures and opportunities - whether in response to the ambitions of a key business project, new market conditions or shareholder concern. A balanced review of the subject is enriched by reference to topics of current interest and is supported by illustrative examples throughout. Presenting the essentials of brand management and risk management side-by-side, Brand Risk offers graduated and complementary approaches to brand risk assessment, from the intuitive to the data-driven.

1. This book provides the first extended study of heritage from the point of view of design history. 2. Demonstrating that design historical methods of inquiry contribute significantly to critical heritage studies, the book will be of great interest to academics, researchers and students engaged in the study of heritage, design history, material culture, folklore, art history, architectural history, and social and cultural history. 3. There are no existing titles which directly focus on the relationship between design (history) and heritage (studies).

This book investigates the architectural, product design, and urban typology of the capsule which, beginning in the 1960s, broadened the concept of the basic building blocks of architecture to include a minimal living unit, called the "capsule." Here it is presented with regard to the continuity of the development of the Modern Movement, its revisionist criticism, pioneering examples, as well as contemporary examples and uses. The typology of the capsule allows us to consider this theme in terms of the architecture of resistance, with the potential to search for an "other" architecture that is embedded in our contemporaneity (manifested in small dwellings, composite structures, and container units; shelters and mobile homes in nature and the urban environment; technology transfer in high-tech designs; devices, additions, and extensions etc.). The concept of the capsule as a building element of architecture, as well as a spatial element, can therefore be regarded as having a generative potential for an architecture of personal space for the individual, forcing us to reflect on our existing living and dwelling conditions.

Denmark has long since written international design history. Today, Danish furniture, textiles, and home appliances and utensils from the sixties and seventies are more popular than ever. The beautiful pieces are meanwhile for sale at design galleries and have become a rarity at flea markets. In short, Nordic items for everyday use have become internationally sought-after trophies for sophisticates. This publication provides an extensive overview of those everyday objects that have to this day written design history both in Denmark as well as worldwide. Along with thirty-two leading scholars and journalists, the head of the library and research at the Designmuseum Danmark in Copenhagen, Lars Dybdahl, advances into the fascinating history of the individual objects. Playfully presented and situated in their historical context, the catalogue sheds new light on this unique world of objects.

Data Visualization for Design Thinking helps you make better maps. Treating maps as applied research, you'll be able to understand how to map sites, places, ideas, and projects, revealing the complex relationships between what you represent, your thinking, the technology you use, the culture you belong to, and your aesthetic practices. More than 100 examples illustrated with over 200 color images show you how to visualize data through mapping. Includes five in-depth cases studies and numerous examples throughout.

Originally published in 1985 this book explores, in four interwoven essays, the many ways human life and built form interact and the place that professional designing takes in this interaction. Together, the essays touch on a number of ideas: the idea that our position in space relative to the thing we are designing determines the methods we apply when designing it; the idea that designing is about making proposals, and is therefore a social act first of all; and the idea that agreements, consensus and above all conventions shape the act of designing things independent of their creative qualities.

Journalism Design is about the future of journalism. As technologies increasingly, and continually, reshape the way we interact with information, with each other and with our environment, journalists need new ways to tell stories. Journalists often see technology as something that improves what they are doing or that makes it more convenient. However, the growing might of technology companies has put journalism and news organisations in a difficult position: readers and revenues have moved, and platforms exert increasing control over story design. Skye Doherty argues that, rather than adapting journalism to new technologies, journalists should be creating the technologies themselves and those technologies should be designed for core values such as the public interest. Drawing from theories and practices of interaction design, this book demonstrates how journalists can use their expertise to imagine new ways of doing journalism. The design and development of the NewsCube, a three-dimensional storytelling tool, is detailed, as well as how interaction design can be used to imagine new forms of journalism. The book concludes by calling for closer ties between researchers and working journalists and suggests that journalism has a hybrid future - in newsrooms, communities, design studios and tech companies.

At one time Great Britain clothed the world. In the 1880s, when the British textile industry was at its height, 85 percent of the world’s population wore clothing made from fabric produced in the mills of Lancashire. From 1910 to 1913 alone, seven billion yards of cloth were folded, stamped, labeled, and baled. Most of this output was for export, and 30 percent of it went to India. British textile manufacturers selling into the competitive Indian market were dealing with a largely illiterate population. In order to differentiate their goods, they stamped their cloth with distinctive images—a crouching tiger or perhaps an elephant standing on top of a globe. When chromolithography came into widespread use in the late 1800s, illustrated paper labels (known in the trade as “shipper’s tickets�) made to appeal to the local people were added. Designed, printed, and registered in Manchester, these brightly colored images were pasted onto the pieces of cloth being sold, further helping to establish a company’s brand. Hindu gods, native animals, scenes from the great Indian epics—the Mahabharata and Ramayana—and views of everyday life were common subjects. In a sense a form of premium, they provided the consumer with an additional incentive to buy the goods of a particular firm. Labels of Empire begins with the late 19th-century heyday of British textile manufacturing and closes with Indian independence in 1947. By combining visual narrative, popular culture, and magical realism in a way never done before, this book offers an unprecedented look at the British textile industry in the time of the Raj—and its remarkably successful use of paper labels as trademarks.