Windsor chairs are a beautiful and traditional feature in any home. Some three hundred years of tradition lie behind chairs made today. While sound joints are essential, it is the sensitive shaping of each component that leads to a fine chair. This lavish book celebrates their history and explains their heritage. It compares and contrasts the distinct Windsor designs from England and America. Tools, techniques and the selection of materials are extensively covered. Detailed plans and measurements for four chairs [two English, two American] are provided and allow makers on one side of the Atlantic to attempt a chair from the other side. A unique study of a magnificent 18th century armchair brings to life the 260 year old story told by the tool marks and other clues left by the maker. Guidance and techniques explain how to design your own chair from scratch, taking into account the anthropomorphic nature of these chairs and the messages they can send out.

Design for Policy is the first publication to chart the emergence of collaborative design approaches to innovation in public policy. Drawing on contributions from a range of the world's leading academics, design practitioners and public managers, it provides a rich, detailed analysis of design as a tool for addressing public problems and capturing opportunities for achieving better and more efficient societal outcomes. In his introduction, Christian Bason suggests that design may offer a fundamental reinvention of the art and craft of policy making for the twenty-first century. From challenging current problem spaces to driving the creative quest for new solutions and shaping the physical and virtual artefacts of policy implementation, design holds a significant yet largely unexplored potential. The book is structured in three main sections, covering the global context of the rise of design for policy, in-depth case studies of the application of design to policy making, and a guide to concrete design tools for policy intent, insight, ideation and implementation. The summary chapter lays out a future agenda for design in government, suggesting how to position design more firmly on the public policy stage. Design for Policy is intended as a resource for leaders and scholars in government departments, public service organizations and institutions, schools of design and public management, think tanks and consultancies that wish to understand and use design as a tool for public sector reform and innovation.

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

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.

This important study introduces the key theories of national identity, and relates them to the broad fields of product, graphic and fashion design. Javier Gimeno-Martinez approaches the inter-relationship between national identity and cultural production from two perspectives: the distinctive characteristics of a nation's output, and the consumption of design products within a country as a means of generating a national design landscape. Using case studies ranging from stamps in nineteenth century Russian-occupied Finland, to Coca-Cola as an 'American' drink in modern Trinidad and Tobago, he addresses concepts of essentialism, constructivism, geography and multiculturality, and considers the works of key theorists, including Benedict Anderson, Eric Hobsbawm and Doreen Massey. This illuminating book offers the first comprehensive account of how national identity and cultural policy have shaped design, while suggesting that traditional formations of the 'national' are increasingly unsustainable in an age of globalisation, migration and cultural diversity. Javier Gimeno-Martinez is Lecturer in Design Cultures at the VU University Amsterdam, The Netherlands.

This book gathers the papers of the PUDCAD Universal Design Practice Conference: Game + Design Education, organized by Istanbul Technical University and held online on June 24-26, 2020. The conference represented one of the key events of the Practicing Universal Design Principles in Design Education through a CAD-Based Game (PUDCAD) project, which developed a design game on a CAD-based platform, enabling students and designers to learn about universal design principles and develop accessible and innovative design ideas. As such, the PUDCAD project met one of the foremost goals of the European Commission, making sure the inclusion and efficient accessibility for people with disabilities into everyday life. The main topics of the conference include: universal design and education, universal design and user experience, game and design studies, gamification, virtual reality experiment, e-learning in design, and playful spaces and interfaces. The contributions, which were selected by means of a rigorous international peer-review process, highlight numerous exciting ideas that will spur novel research directions and foster multidisciplinary collaboration among different specialists.

Originally published in 1880 this early work on book binding is a comprehensive and informative look at the subject. The contents are extensively illustrated, The information on book binding makes for absorbing reading throughout. Many of the earliest books, particularly those dating back to 1900s and before, are now extremely scarce and increasingly expensive. We are republishing these classic works in affordable, high quality, modern editions, using the original artwork and text.

This book questions if spherology is a philosophy for designers, giving guidance on ways to read Spheres, how to approach the trilogy's indexicality, and apply the key tropes and ethics of atmospheres to digital design. Each chapter includes a design-in, that is a practical entry point into the many tropes of Spheres including- bubbles, globes and foam. The book also applies spherology to an atmosphere design issue involving endangered species and geospatial threats to the environment. Spherology refers to the Spheres trilogy by the philosopher Peter Sloterdijk, which traces spherical ideas, theories, sensations and feelings related to the philosophical concept of 'being' and the human-centered position of 'being-in'. It is the first cynical, feminist companion of spherology to take a practice-led approach and to cover all three controversial volumes to with and against Spheres. Windle draws on feminist science and technology studies (STS) through parody within reading, writing and design practices. Design provides navigation so that academics and students can engage with spherology through an embodied concern with digital materiality. As a feminist companion for today's design issues, the book is an essential read for feminist STS scholars, design practitioners and digital R&D specialists working both in industry and academia, including more specifically data visualisers, interface and interaction designers.

It was Faraday who in 1821 said that there are three necessary stages of useful research. The first to begin it, the second to. end it, and the third 1 to publish it. There has since indeed been so much research and publication that we have become increasingly alarmed by the galloping proliferation of scientific information produced in relation to the user's ability to retrieve and consume it effectively, conveniently and creatively. In 1948, to deal with this concern, the Royal Society Scientific Infor 1 mation Conference held in London spanned the whole realm of scientific in formation. Sir Robert Robinson, President of the Royal Society, in his open ing address noted that "the study of scientific information services in all its ramifications has enormous scope," and the London conference dealt with scientific publication, format, editorial policy, subject grouping, organiza tion, abstracting, reviews, classification, indexing and training of infor mation officers. It was about this time that information science began to develop more on the retrieval end, so it seems logical that the first editors' group founded in 1949 was ICSU AB, the International Council of Scientific Unions Abstract ing Board. In 1958 the National Academy of Sciences International Conference of 2 Scientific Information in Washington limited its interests and expanded on the later phases of the life cycle of information - storage and retrieval."

From 2016-2018, teachers and students at the State University of Rio de Janeiro in Brazil found themselves at the center of a crisis. A new right-wing government suspended payment of staff salaries and student scholarships and stopped funding basic maintenance. Everyday Acts of Design tells the story of how the university’s design school reacted to the crisis: not with despondency or despair, but by promoting a series of radical teaching experiments. Working together, students, alumni, teachers, and staff embraced hope as a method, demonstrating that it is possible to find positive answers even in a situation of imminent collapse. The case histories narrated in the book provide alternatives to conventional forms of design teaching, but also prove that education can be a site for democracy and the practice of freedom. Deprived of the activity of creating for an imagined future, design can still assert a way forward through practices of making and experimenting. Drawing on their personal experience of designing and teaching design at a time of crisis, the authors assert the value of a design attitude which, in refusing to be delimited by the forethought of designing, insists on a radical, experimental practice as a means of survival. Although a multitude of voices, both assenting and dissenting, are present in the text, the authors do not hide their own position, making it clear that their stories are not a balanced mosaic of polyphonic positions. The contemporary attack on free public education, fueled by the growth of far-right regimes all over the globe, relies on a totalizing univocal conception of ‘truth’ as a means to shut down a plurality of thinking. Against this, this book adopts the partiality of historical and cultural truths as an urgent and explicit counter-attack. Adopting a consciously international approach,the authors connect and compare their own story with those of similar design teaching movements in the Global South, such as the Barefoot School in India, and ZIVA, founded by Saki Mafunkikwa in Zimbabwe.

Despite the borders of the USSR being closed to majority of its population, Soviet citizens were among the world's most frequent flyers. Following the 1917 Revolution, Vladimir Lenin made the development of aviation a priority. Assisted by advertising campaigns by artists such as Alexander Rodchenko, Soviet society was mobilised to establish an air fleet - from the very beginning of the USSR through to its demise in 1991, Soviet aviation flew its own unique path. This book unfolds the story of Soviet air travel, from early carriers like Deruluft and Dobrolet, to the enigmatic Aeroflot. Organised like an Air Force, with a vast fleet of aircraft and helicopters, Aeroflot was the world's biggest air carrier of passengers and cargo, responsible for a wider range of duties than any other airline. In an era when it was still common to smoke on board, the Aeroflot emblem appeared on cigarette packets, matchboxes and many other everyday goods. Aeroflot publicity alerted domestic passengers to new destinations or proudly presented the introduction of faster, more comfortable aircraft, while colourful advertising enticed Western travellers to use Aeroflot's international services. Aeroflot - Fly Soviet uses this ephemera to illustrate a parallel aviation universe that existed for 70 years. It pays tribute to generations of aircraft engineers, designers, pilots, ticket sellers, flight dispatchers, air traffic controllers, ground handlers and flight attendants, who jointly created this remarkable chapter of Soviet civil aviation history.

Official art book of the PS5 launch game Marvel's Spider-Man: Miles Morales, featuring concept art created during the development of the game.

Be greater, be yourself as Miles Morales swings onto the scene in his own video game for the first time. Learning the ropes as Spider-Man in Peter Parker s absence, Miles must find the balance between keeping his new home, Harlem, safe and rising up to take on new challenges and enemies that test his abilities and loyalties to the limit.

The creative process of this much-anticipated game is captured in Marvel s Spider-Man: Miles Morales The Art of the Game. This lush, hardback book showcases the remarkable concept art and in-game renderings created by the talented development team creating the game in collaboration with Marvel. Characters, locations, tech, gadgets, Spider suits and much more are presented in all their incredible detail, accompanied by unique insights from the artists and developers behind the game.

The book proposes a new Cultural Realism and Virtualism design model for cultural and creative products based on Laozi's philosophy and analysis of symbolism, metaphysics, three-layered culture, reverse-triangular cultural space and Zen aesthetics. It studies peoples that speak Austronesian languages and offers a detailed comparison of their homogeneous and heterogeneous cultures of color, clothing, housing, boats, birds, symbols, dance and ancestry, and provides insights into the cultural features of deconstruction and construction of color, style, form, shape and function, to compose cultural and creative products using complex, variable, fuzzy evaluation; and structural variation and color evaluation methods. It then uses case studies to show that the products created with the new model not only fulfilled their purpose, but also successfully entered the markets. This book helps qualify decision-making processes, improve accuracy of design scheme evaluation and enhance efficiency in product development, and as such appeals to those in the cultural and creative industry, researchers, designers and those who are interested in product design.

A gloriously illustrated book which sheds new light on the Puccini era and the roots of the modern music industry.

After Mozart and Verdi, Giacomo Puccini is the third most performed opera composer in the world today. On the centenary of his death, Bertelsmann and the Archivio Storico Ricordi present Opera Meets New Media, a richly illustrated volume published to accompany the multimedia exhibition of the same name at the Scala Museum in Milan, Italy. Puccini celebrated his greatest successes at a time of disruptive media innovations.

The age of mechanical reproduction brought with it the development of new entertainment technology, above all film and sound recordings, which soon became mainstream. These technological advancements represented a revolution for society and musical culture in the early twentieth century, fundamentally challenging the traditional business model of opera. How could music publishers rise to this challenge?

Puccini and his publisher Ricordi provide a fascinating case study on the subject. In this book, edited by Gabriele Dotto, ten experts shed light on different aspects of the topic. The book showcases historical records, costumes, choreography, gramophones, photographs, posters, postcards, sheet music, and set designs and will be a delight to any opera fan.

Spanning four centuries, the V&A's Fashion Collection is the most comprehensive in the world, housing unrivalled collections of dress, accessories, shoes and hats from the seventeenth century to the present day. This thoroughly revised and redesigned edition perfectly encapsulates the collection, from rare eighteenth-century gowns and exquisite eighteenth-century bodices to 1930s evening wear, post-war couture and show-stopping ensembles by contemporary designers. Fashion designers represented include Charles Frederick Worth, Madeleine Vionnet, Cristobal Balenciaga, Coco Chanel, Christian Dior, Mary Quant, Stephen Jones, Vivienne Westwood and Alexander McQueen.

In Archaeology of Tibetan Books, Agnieszka Helman-Wazny explores the varieties of artistic expression, materials, and tools that have shaped Tibetan books over the millennia. Digging into the history of the bookmaking craft, the author approaches these ancient texts primarily through the lens of their artistry, while simultaneously showing them as physical objects embedded in pragmatic, economic, and social frameworks. She provides analyses of several significant Tibetan books-which usually carry Buddhist teachings-including a selection of manuscripts from Dunhuang from the 1st millennium C.E., examples of illuminated manuscripts from Western and Central Tibet dating from the 15th century, and fragments of printed Tibetan Kanjurs from as early as 1410. This detailed study of bookmaking sheds new light on the books' philosophical meanings.