Make to Know: From Spaces of Uncertainty to Creative Discovery will change the way you think about creativity. The book upends popular notions of innate artistic and visionary genius and probes instead the event of discovery that happens through the act of making. In contrast to the classic tale of Michelangelo, who 'saw the angel in the stone', the artists and designers Buchman interviews for this book talk about knowing their work as they engage in the doing. Make to Know explores the revelatory nature of the creative journey itself. As Buchman weaves together the vivid stories of his multiple conversations, we learn about writers of all stripes as they confront creative spaces of uncertainty - 'the blank page'; about visual artists and what they understand from the materials they encounter; about designers and architects and the iterative process of solving problems; and about actors and musicians facing the surprises of improvisational performance. Make to Know is a book that will, ultimately, open a path to your own making, and, in the end, will have significant implications for how you live. Make to Know presents a way of thinking that democratizes creativity and uncovers a process that leads to knowing both one's work and oneself. It is relevant to anyone interested in why creativity matters.

This book reports on innovative research and practices in contemporary design, showing how to integrate different concepts and discussing the emerging role of design in different field, its meaning for humans and citizens, at both local and global level. Gathering the best papers from Senses & Sensibility, held in 2019 in Lisbon, Portugal, it highlights the role of design in fostering education, physical and social wellbeing, industrial innovation and cultural preservation, as well as inclusivity, sustainability and communication in a global, digital world.

Edward Gordon Duff (1863 1924) was a bibliographer and librarian with a particular interest in early printed books. He was librarian of the John Rylands Library, Manchester, from 1893 to 1900, and Sandars Reader in Bibliography at Cambridge in 1899, 1904 and 1911. Alongside research and writing he also did freelance cataloguing. Duff's work set new standards of accuracy in bibliography, which he considered a science. This study of the early London book trade contains the text of Duff's 1899 Sandars Lectures. William Caxton began printing in England in 1476 at Westminster, but most printers and booksellers working in England at that time were foreigners. Duff covers Westminster and London printing separately, and devotes individual chapters to the related trades of bookselling and bookbinding, which were often carried out by the same person. This reissue also contains Duff's lecture English Printing on Vellum, delivered in 1900.

Videogame history is not just a history of one successful technology replacing the next. It is also a history of platforms and communities that never quite made it; that struggled to make their voices heard; that aggravated against the conventions of the day; and that never enjoyed the commercial success or recognition of their major counterparts. In Minor Platforms in Videogame History, Benjamin Nicoll argues that 'minor' videogame histories are anything but insignificant. Through an analysis of transitional, decolonial, imaginary, residual, and minor videogame platforms, Nicoll highlights moments of difference and discontinuity in videogame history. From the domestication of vector graphics in the early years of videogame consoles to the 'cloning' of Japanese computer games in South Korea in the 1980s, this book explores case studies that challenge taken-for-granted approaches to videogames, platforms, and their histories.

This is the first anthology to address Design History as an established discipline, a field of study which is developing a contextualised understanding of the role of design and designed objects within social and cultural history. Extracts range from the 18th Century, when design and manufacture separated, to the present day. Drawn from scholarly and polemical books, research articles, exhibition catalogues, and magazines, the extracts are placed in themed sections, with each section separately introduced and each concluded with an annotated guide to further reading. Covering both primary texts (such as the writings of designers and design reformers) and secondary texts (in the form of key works of design history), the reader provides an essential resource for understanding the history of design, the development of the discipline, and contemporary issues in design history and practice. Authors include: Judy Attfield, Jeremy Aynsley, Reyner Banham, Roland Barthes, Jean Baudrillard, Walter Benjamin, Pierre Bourdieu, Christopher Breward, Denise Scott Brown, Ruth Schwartz Cowan, Clive Dilnot, Buckminster Fuller, Paul Greenhalgh, Dick Hebdige, Steven Heller, John Heskett, Pat Kirkham, Adolf Loos, Victor Margolin, Karl Marx, Jeffrey Meikle, William Morris, Gillian Naylor, Victor Papanek, Nikolaus Pevsner, John Ruskin, Adam Smith, Penny Sparke, John Styles, Nancy Troy, Thorstein Veblen, Robert Venturi, John Walker, Frank Lloyd Wright.

Pairs is a student-led journal at the Harvard University Graduate School of Design (GSD) dedicated to conversations about design that are down to earth and unguarded. Each issue is conceptualized by an editorial team-including GSD students-that proposes guests and objects to be in dialogue with one another. Pairs is non-thematic, meant instead for provisional thoughts and ideas in progress. Each issue seeks to organize diverse threads and concerns that are perceived to be relevant to our moment. Thus, Pairs creates a space for understanding and a greater degree of exchange, both between the design disciplines and with a larger public. Pairs 02 features conversations with Emmanuel Admassu, Rashid bin Shabib, Irma Boom, Gareth Doherty, David Foster, David Hartt, Sara Hendren, Jane Hutton, Sharon Johnston, Zachary Mollica, Lyndon Neri, Malkit Shoshan, Jorge Silvetti, John R. Stilgoe, Paola Sturla, Sumayya Vally, Terry Tempest Williams, and Kathryn Yusoff. Contributors include the editors and Emma Lewis, Elisa Ngan, and Maxwell Smith-Holmes.

This textbook provides the tools, techniques, and industry examples needed for the successful implementation of design of experiments (DoE) in engineering and manufacturing applications. It contains a high-level engineering analysis of key issues in the design, development, and successful analysis of industrial DoE, focusing on the design aspect of the experiment and then on interpreting the results. Statistical analysis is shown without formula derivation, and readers are directed as to the meaning of each term in the statistical analysis. Industrial Design of Experiments: A Case Study Approach for Design and Process Optimization is designed for graduate-level DoE, engineering design, and general statistical courses, as well as professional education and certification classes. Practicing engineers and managers working in multidisciplinary product development will find it to be an invaluable reference that provides all the information needed to accomplish a successful DoE.

Globalism is often discussed using abstract terms, such as 'networks' or 'flows' and usually in relation to recent history. Global Design History moves us past this limited view of globalism, broadening our sense of this key term in history and theory. Individual chapters focus our attention on objects, and the stories they can tell us about cultural interactions on a global scale. They place these concrete things into contexts, such as trade, empire, mediation, and various forms of design practice. Among the varied topics included are: the global underpinnings of Renaissance material culture the trade of Indian cottons in the eighteenth-century the Japanese tea ceremony as a case of 'import substitution' German design in the context of empire handcrafted modernist furniture in Turkey Australian fashions employing 'ethnic' motifs an experimental UK-Ghanaian design partnership Chinese social networking websites the international circulation of contemporary architects. Featuring work from leading design historians, each chapter is paired with a 'response', designed to expand the discussion and test the methodologies on offer. An extensive bibliography and resource guide will also aid further research, providing students with a user friendly model for approaches to global design. Global Design History will be useful for upper-level undergraduate and postgraduate students, academics and researchers in design history and art history, and related subjects such as anthropology, craft studies and cultural geography.

A multifaceted look at the work of award-winning American industrial designer Stephen Burks Through essays, photo-essays, and a conversation between Black designer Stephen Burks (b. 1969) and the late cultural critic bell hooks, this book contextualizes Burks's wide-ranging work while exploring design's influence on politics, society, and culture. Burks's work is underpinned by his belief in a pluralistic vision of design that is inclusive of all cultural perspectives; the award-winning designer has been commissioned by many of the world's leading design-driven brands to develop collections that engage hand production as a strategy for innovation. The book centers the industrial design and craft collaborations within Burks's workshop-based design practice and offers an opportunity to reflect on the potential of design at a time when racial, social, and environmental justice remain in jeopardy. Topics explored in the book include an overview of the designer's practice, from the foundational architecture culture of Chicago (Burks's birthplace) to his latest speculative project; the workshop-based collaborative ethos of his studio, Stephen Burks Man Made; and the politics of design. In the conversation between bell hooks and Burks, hooks brings her critical eye to design as it relates to the broader field of African American cultural production. Distributed for the High Museum of Art Exhibition Schedule: High Museum of Art, Atlanta (September 16, 2022-March 5, 2023)

Whilst seemingly simple garments such as the tunic remained staples of the classical wardrobe, sources from the period reveal a rich variety of changing styles and attitudes to clothing across the ancient world. Covering the period 500 BCE to 800 CE and drawing on sources ranging from extant garments and architectural iconography to official edicts and literature, this volume reveals Antiquity’s preoccupation with dress, which was matched by an appreciation of the processes of production rarely seen in later periods. From a courtesan’s sheer faux-silk garb to the sumptuous purple dyes of an emperor’s finery, clothing was as much a marker of status and personal expression as it was a site of social control and anxiety. Contemporary commentators expressed alarm in equal measure at the over-dressed, the excessively ascetic or at ‘barbarian’ silhouettes. Richly illustrated with 100 images, A Cultural History of Dress and Fashion in Antiquity presents an overview of the period with essays on textiles, production and distribution, the body, belief, gender and sexuality, status, ethnicity, visual representations, and literary representations.

Over the last century there has been a complete transformation of the fashion system. The unitary top-down fashion cycle has been replaced by the pulsations of multiple and simultaneous styles, while the speed of global production and circulation has become ever faster and more complex. Running in tandem, the development of artificial fibres has revolutionized the composition of clothing, and the increased focus on youth, sexuality, and the body has radically changed its design. From the 1920s flapper dress to debates over the burkini, fashion has continued to be deeply involved in society’s larger issues. Drawing on a wealth of visual, textual and object sources and illustrated with over 100 images, A Cultural History of Dress and Fashion in the Modern Age presents essays on textiles, production and distribution, the body, belief, gender and sexuality, status, ethnicity, and visual and literary representations to illustrate the diversity and cultural significance of dress and fashion in the period.

Feuds within fashion houses, megalomaniacs and photoshoot nightmares - fashion and drama have been a perfect match for decades. Over the past ten years, we have witnessed a boom of documentaries about fashion magazine editors, fashion and media politics and the history of fashion houses. How and why did fashion documentaries and non-fiction media become so popular? Documenting Fashion explores and reassesses the role of documentary media by tracing its history in shaping our understanding of fashion across multiple platforms and different national contexts, including industrial films, newsreels, TV shows, documentary films, digital media and photography. The essays in this collection underpin and profile a scholarly space in which a dialogue between fashion and documentary studies can evolve by drawing from different methodologies and approaches, such as media and cultural studies, ethnography, archival and museum studies, gender studies, marketing and public relations.

In Designs for the Pluriverse Arturo Escobar presents a new vision of design theory and practice aimed at channeling design's world-making capacity toward ways of being and doing that are deeply attuned to justice and the Earth. Noting that most design-from consumer goods and digital technologies to built environments-currently serves capitalist ends, Escobar argues for the development of an "autonomous design" that eschews commercial and modernizing aims in favor of more collaborative and placed-based approaches. Such design attends to questions of environment, experience, and politics while focusing on the production of human experience based on the radical interdependence of all beings. Mapping autonomous design's principles to the history of decolonial efforts of indigenous and Afro-descended people in Latin America, Escobar shows how refiguring current design practices could lead to the creation of more just and sustainable social orders.

Jeanne Liedtka and Tim Ogilvie educate readers in one of the hottest trends in business: "design thinking," or the ability to turn abstract ideas into practical applications for maximal business growth. Liedtka and Ogilvie cover the mind-set, techniques, and vocabulary of design thinking, unpack the mysterious connection between design and growth, and teach managers in a straightforward way how to exploit design's exciting potential.

Exemplified by Apple and the success of its elegant products and cultivated by high-profile design firms such as IDEO, design thinking unlocks creative right-brain capabilities to solve a range of problems. This approach has become a necessary component of successful business practice, helping managers turn abstract concepts into everyday tools that grow business while minimizing risk.

Spurred by an increasingly international and competitive market, the Renaissance saw the development of many new fabrics and the use of highly prized ingredients imported from the New World. In response to a thirst for the new, fashion’s pace of change accelerated, the production of garments provided employment for an increasingly significant proportion of the working population, and entrepreneurial artisans began to transform even the most functional garments into fashionable ones. Anxieties concerning vanity and the power of clothing to mask identities heightened fears of fashion’s corrupting influence, and heralded the great age of sumptuary legislation intended to police status and gender through dress. Drawing on sources from surviving garments to artworks to moralising pamphlets, this richly illustrated volume presents essays on textiles, production and distribution, the body, belief, gender and sexuality, status, ethnicity, and visual and literary representations to illustrate the diversity and cultural significance of dress and fashion in the period.

A timely examination of the attachments we form to objects and how they might be used to reduce waste Rampant consumerism has inundated our planet with pollution and waste. Yet attempts to create environmentally friendly forms of consumption are often co-opted by corporations looking to sell us more stuff. In Things Worth Keeping, Christine Harold investigates the attachments we form to the objects we buy, keep, and discard, and explores how these attachments might be marshaled to create less wasteful practices and balance our consumerist and ecological impulses. Although all economies produce waste, no system generates as much or has become so adept at hiding its excesses as today's mode of global capitalism. This book suggests that managing the material excesses of our lives as consumers requires us to build on, rather than reject, our desire for and attraction to objects. Increasing environmental awareness on its own will be ineffective at reversing ecological devastation, Harold argues, unless it is coupled with a more thorough understanding of how and why we love the things that imbue our lives with pleasure, meaning, and utility. From Marie Kondo's method for decluttering that asks whether the things in our lives "spark joy" to the advent of emotionally durable design, which seeks to reduce consumption and waste by increasing the meaningfulness of the relationship between user and product, Harold explores how consumer psychology and empathetic design can transform our perception of consumer products from disposable to interconnected. An urgent call for rethinking consumerism, Things Worth Keeping shows that by recognizing our responsibility for the things we produce, we can become better stewards of the planet.

Following on the acclaimed success of its inaugural SFP LookBook, Schiffer Fashion Press's style guide extraordinaire kicks off its second season with Spring 2014 runway looks from Mercedes-Benz Fashion Week. Ideal for identifying trends in color, fabric, embellishment, styling, and silhouette, here are images of more than 3,200 looks from more than 125 of today's top designers, including Carolina Herrera, Mara Hoffman, Nicole Miller, Noon by Noor, Pamella Roland, Rebecca Minkoff, and more. This exhaustive compilation showcases high-end ready-to-wear, sportswear, menswear, swimwear, resort, and eveningwear presentations, but also offers comprehensive looks at styling trends for hair, beauty, and accessories. The SFP LookBook compiles everything that the Spring 2014 collections have to offer in one volume of high-quality images--it is a must have for designers, trend spotters, students, stylists, buyers, and fashion enthusiasts everywhere.

This is a study of a distinctive brand of modernism that first emerged in late nineteenth-century Germany and remained influential throughout the inter-war years and beyond. Its supporters saw themselves as a new elite, ideally placed to tackle the many challenges facing the young and rapidly industrializing German nation-state. They defined themselves as bourgeois, and acted as self-appointed champions of a modern consciousness. Focusing on figures such as Hermann Muthesius, Fritz Schumacher, and Karl-Ernst Osthaus, and the activities of the Deutscher Werkbund and other networks of bourgeois designers, writers, and 'experts', this book shows how bourgeois modernism shaped the infrastructure of social and political life in early twentieth-century Germany.
Bourgeois modernism exercised its power not so much in the realm of ideas, but by transforming the physical environment of German cities, from domestic interiors, via consumer objects, to urban and regional planning. Drawing on a detailed analysis of key material sites of bourgeois modernism, and interpreting them in conjunction with written sources, this study offers new insights into the history of the bourgeois mindset and its operations in the private and public realms. Thematic chapters examine leitmotifs such as the sense of locality and place, the sense of history and time, and the sense of nature and culture. Yet for all its self-conscious progressivism, German bourgeois modernism was not an inevitable precursor of neo-liberal global capitalism. It remained a hotly contested historical construct, which was constantly re-defined in different geographical and political settings.

Designing Post-Virtual Architectures: Wicked Tactics and World-Building explores, describes, and demonstrates theories and strategies for design in a post-virtual world. This book reveals affinities among social, mathematical, philosophical, and language expressions integrated into a theoretical framework, facilitating design across physical and virtual space. This experience-driven framework forms the basis for data-driven, experience design methodologies. The implementation of these methodologies takes design work beyond the stylistic expressions of parameters, to data-driven, multi-modal, parametric processes of transformation. With this book as a resource, architects and designers have a handbook of technical and philosophical concepts to lend rigor to their design work. Numerous diagrams delineate complex ideas while also acting as templates for creating, assessing, and communicating the meaning and value of designed solutions. As a handbook, the intention is to provide a guide to support the application of interdisciplinary tactics across strategic fields. Such novel approaches open up new ways of developing singular solutions and new ways to serve the distributed behaviours systemized through architectures. In an evolving contemporary condition, a foundation of rigorous human-centred design is central to moving the discipline of design into the future. Providing a range of rigorous methodologies for those looking to develop project-specific strategies, Designing Post-Virtual Architectures: Wicked Tactics and World-Building is a tool to facilitate the creation of innovative and meaningful architectures, and is an ideal resource for postgraduate students of architectural theory, design theory and design methods, as well as academics and professionals practicing the field.

At the turn of the 20th century, Art Nouveau design blossomed with undulating patterns of luxurious swirls, curves, and highly stylized images. This collection of 203 Vector-based illustrations beautifully captures the period in an amazing assortment of functional forms. Includes a gallery of design ideas and a complete tutorial section.

In times of crisis, mutual aid becomes paramount. Even before the COVID-19 pandemic, new forms of sharing had gained momentum to redress precarity and stark economic inequality. Today, a diverse array of mutualistic organizations seek to fundamentally restructure housing, care, labor, food, and more. Yet design, art, and architecture play a key role in shaping these initiatives, fulfilling their promise of solidarity, and ensuring that these values endure. In this book, artist Marisa Moran Jahn and architect Rafi Segal converse about the transformative potential of mutualism and design with leading thinkers and practitioners: Mercedes Bidart, Arturo Escobar, Michael Hardt, Greg Lindsay, Jessica Gordon Nembhard, Ai-jen Poo, and Trebor Scholz. Together, they consider how design inspires, invigorates, and sustains contemporary forms of mutualism-including platform cooperatives, digital-first communities, emerging currencies, mutual aid, care networks, social-change movements, and more. From these dialogues emerge powerful visions of futures guided by communal self-determination and collective well-being.

Traces the pagan-Christian link of the symbolism of the axis-mundi from standing stones and market crosses to the inscribed slabs and free-standing crosses of the Celtic-Christian era. Examines the ornamented Celtic crosses from such places as Brittany, Wales, Scotland, the Isle of Man, Cumbria, Ireland, and Cornwall.

Crafting design in Italy is the first book to examine the role that craft played in post-war Italian design, one of the most celebrated design episodes in the twentieth century. Craft was vital to the development of Italian design, and it has been so far overlooked. This book examines the multiple ways craft shaped Italian design from 1945 to the 1980s in the context of bigger socio-economic, cultural and political change; from post-war reconstruction to the economic 'miracle' of the 1960s, to the rise of the countercultural Radical Design movement and advent of postmodernism. It consists of case studies on design areas including product, furniture, fashion, glass and ceramics to bring to light previously unknown makers and objects as well as re-examine design 'icons' such as Gio Ponti's Superleggera chair and Ettore Sottsass's Memphisware. It also offers a model for analysing design and craft's relationship in other contexts, including today. -- .

Crusaders for art and design were men and women who were prepared to give their energy, talents, and oftimes money, to encourage young artists and designers to adventure in their chosen fields and generally to raise the status of the 'fine' and 'applied' arts and their creators. Many of these crusaders have largely been forgotten, such as John Gloag, who was here, there, and everywhere in support of the cause. Other Crusaders are remembered but for other reasons, such as Pevsner, the surveyor of British architectural heritage who for some years had been seen as the guru of industrial design. Gordon Russell, celebrated as the Cotswold furniture designer is altogether less known as a Director of the Council of Industrial Design. Whilst in the 'fine' arts Anton Zwemmer, whose Covent Garden shop is now a hairdressers, has largely been erased from memory as when he had been the king bee of a beehive frequented by artists and designers alike coming to find out the latest cultural news from the Continent to be gleaned from his magazines and books. Crusaders of Art and Design aims to restore a number of reputations by recording their contributions to the cause.