This text summarizes and contextualizes the ideas that have formed visual arts practices in the 20th century. Art, design and architecture are located in their social and political contexts, and the ideas of modernism are traced from the development of industrialized Europe at the turn of the century to the post-industrial, post-colonial present. The complex relationship between modernism and postmodernism in the visual arts is examined and the book concludes with a review of the global impact of the new technologies on art and design production.

Krieger revisits the ideas of his now infamous article of some thirty years ago in "Science" magazine. His aim is to give an account of design, one that experienced designers will say, 'Yes, That's just what it is like ' At the same time, Krieger offers an analysis of the tensions that design operates within; between perfection and contingency, between wholes and parts, between the talk we make about the world and the world itself.

Krieger takes design--in architecture, landscape, interiors, engineering, and in systems and computer science--to be modeled by traditional theological and artistic problems. And here, he claims, design has traditionally been a redesign of nature. For nature is, as Durkheim would describe it, a totem. Our collective ritual devotion to it allows us to enliven or animate it, and so it may animate us as well. Curiously, much of design and discourse about it now takes place in the computer software engineering world, especially among those concerned with patterns and object- oriented programming. In developing a notion of plastic trees, Krieger probes just what could be wrong with such artifices. As he illustrates, what we call nature is almost always a product of deliberate design. It is as if people make discoveries in exploration, discoveries of places already occupied aboriginally. In essence, he asserts what we actually have is a virtual authenticity, more real than any original could possibly be--since the original was never meant to be sacralized or featured in our lives. A provocative analysis that scholars and students of architecture and planning, environmental studies, engineering and computer science will find stimulating.

The best way to a bibliophile's heart is through a big pile of books. This colorfully illustrated notecard set features 20 different book stacks. With themes ranging from beloved novels to essential cookbooks, there is a the card for booklovers of all tastes.

A revised edition of this popular history of design, updated to reflect innovations since the book's first publication in 2016. Design: The Whole Story takes a close look at the key developments, movements and practitioners of design around the world, from the beginnings of industrial manufacturing to the present day. Organized chronologically, it locates design within its technological, cultural, economic, aesthetic and theoretical contexts. From the high-minded moralists of the 19th century to the radical thinkers of modernism - and from the emergence of showmen such as Raymond Loewy in the 1930s to today's superstars such as Philippe Starck - the book provides in-depth coverage of a subject that touches all our lives. Iconic works that mark significant steps forward or that characterize a particular era or approach - such as Marcel Breuer's Wassily chair of 1925, Eliot Noyes' corporate identity work for IBM in the 1950s and Matthew Carter's Verdana typeface, designed to be read on screen - are analysed in detail, while the text sets out the framework of ideas, intent and technology within which differing approaches to design have evolved. From the cars we drive and the products we buy to the graphics that surround us, we are all consumers of design. Design: The Whole Story provides all the information needed to decode the material world.

Wide aspects of a university education address design: the conceptualization, planning and implementation of man-made artifacts. All areas of engineering, parts of computer science and of course architecture and industrial design all claim to teach design. Yet the education of design tends ot follow tacit practices, without explicit assumptions, goals and processes.

This book is premised on the belief that design education based on a cognitive science approach can lead to significant improvements in the effectiveness of university design courses and to the future capabilities of practicing designers. This applies to all professional areas of design. The book grew out of publications and a workshop focusing on design education. This volume attempts to outline a framework upon which new efforts in design education might be based.

The book includes chapters dealing with six broad aspects of the study of design education:
- Methodologies for undertaking studies of design learning
- Longitudinal assessment of design learning
- Methods and cases for assessing beginners, experts and special populations
- Studies of important component processes
- Structure of design knowledge
- Design cognition in the classroom