This book highlights cutting-edge ecodesign research, covering product and service design, smart manufacturing, and social perspectives in ecodesign. Featuring selected papers presented at EcoDesign 2019: 11th International Symposium on Environmentally Conscious Design and Inverse Manufacturing, it also includes diverse, interdisciplinary approaches to foster ecodesign research and activities. In the context of Sustainable Development Goals (SDGs), it addresses the need for the manufacturing industry to design innovations for sustainable value creation, taking into account technological developments, legislation, and consumer lifestyles. Further, the book discusses the concept of circular economy, which originated in Europe and aims to increase resource efficiency by shifting away from the linear economy. Focusing on product life cycle design and management, smart manufacturing, circular economy, and business strategies, and providing useful approaches and solutions to these emerging concepts, this book is intended for both researchers and practitioners working in the broad field of ecodesign and sustainability.

Graphic Design in Museum Exhibitions offers an in-depth analysis of the multiple roles that exhibition graphics perform in contemporary museums and exhibitions. Drawing on a study of exhibitions that took place at the Victoria and Albert Museum, London, the Museum of London and the Haus der Geschichte, Bonn, Piehl brings together approaches from museum studies, design practice and narrative theory to examine museum exhibitions as multimodal narratives in which graphics account for one set of narrative resources. The analysis underlines the importance of aspects such as accessibility and at the same time problematises conceptualisations that focus only on the effectiveness of graphics as display device, by drawing attention to the contributions that graphics make towards the content on display and to the ways in which it is experienced in the museum space. Graphic Design in Museum Exhibitions argues for a critical reading of and engagement with exhibition graphic design as part of wider debates around meaning-making in museum studies and exhibition-making practice. As such, the book should be essential reading for academics, researchers and students from the fields of museum and design studies. Practitioners such as exhibition designers, graphic designers, curators and other exhibition makers should also find much to interest them in the book.

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 book is an essential contribution to the transdisciplinary field of critical design studies. The essays in this collection locate design at the center of a series of interrelated planetary crises, from climate change, nuclear war, and racial and geopolitical violence to education, computational culture, and the loss of the commons. In doing so, the essays propose a range of needed interventions in order to transform design itself and its role within the shifting realities of a planetary crisis. It challenges the widely popular view that design can contribute to solving world problems by exposing how this attitude only intensifies the problems we currently face. In this way, the essays critique the dominant modes of framing the meaning and scope of design as a largely Anglo-European 'problem-solving' practice. By drawing on post-development theory, decolonial theory, black studies, continental philosophy, science and technology studies, and more, the contributions envision a critical and speculative practice that problematises both its engagement with planet and itself. The essays in this collection will appeal to design theorists and practitioners alike, but also to scholars and students generally concerned with how the past and future of design is implicated in the unfolding complexity of ecological devastation, racial and political violence, coloniality, technological futures, and the brutality of modern Western culture generally.

Furuya Korin was a Japanese designer and painter. His woodblock-printed books of textile designs, created in the first decade of the 20th century are represented here in our QuickNotes notecard box. 20 notecards and envelopes, 5 each of 4 images. Packaged in a sleek, sturdy flip-top box with magnetic closure. Cards printed on coated paper stock to bring out their full colour. Cards and envelopes bundled together with a paper belly band inside each box. Box measurements 143 x 120 x 34mm.

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.

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.

In 100 Things Every Designer Needs to Know About People, 2nd Edition, Dr. Susan Weinschenk shows design and web professionals how to apply the latest research in cognitive, perceptual, and social psychology to create more effective web sites and apps. Dr. Weinschenk offers concise, plain-English insights and practical examples for designing sites and apps that are more intuitive and engaging, because they match the way humans think, work, and play.

Updated to reflect the latest scientific findings, this full-color, relentlessly practical guide will help you whether your background is in visual design, interaction design, programming, or anything else. Weinschenk will help you improve the many design choices you make every single day - from choosing fonts and chunking information to motivating people and guiding them towards purchase.

Not just another "web design guidelines" book, 100 Things Every Designer Needs to Know About People, 2nd Edition explains the why behind the guidelines, and exposes the many web design myths and "urban legends" that stand in your way. Dr. Weinschenk shows you what makes humans tick, and helps you translate that knowledge into exceptionally successful designs. The concise, practical, full-color guide to building great web sites and apps by reflecting human psychology in all you do - now fully updated for the latest research

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.

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."

This accessible introduction to the exciting field of contemporary Spanish visual culture is the first of its kind. It combines cultural context with close readings of particular works.

Going beyond the field of cinema, in which Spain is an acknowledged leader, Smith examines new developments in television, where original and innovative series drama has recently blossomed. He also explores Spanish fashion, where 'classic' design is married to high tech production and distribution.

Two aspects of Spanish visual art are considered: the career of Miquel Barcelo, global artist and pure painter, and Basque conceptual art which, through photography and installation, puts a new spin on international questions of gender and sexuality.

Finally, Contemporary Spanish Culture examines Catalan independent cinema and the most recent work of Spain's best known director, Pedro Almodovar, who has resurrected a genre long considered dead: the art movie.

This innovative new book provides an ideal introduction for undergraduates and will be essential reading for those working in Hispanic studies, cultural studies, and film.

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.

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.

This book argues for the importance of sketching as a mode of thinking, and the relevance of sketching in the design process, design education, and design practice. Through a wide range of analysis and discussion, the book looks at the history of sketching as a resource throughout the design process and asks questions such as: where does sketching come from? When did sketching become something different to drawing and how did that happen? What does sketching look like in the present day? Alongside an in-depth case study of students, teachers, and practitioners, this book includes a fascinating range of interviews with designers from a wide variety of backgrounds, including fashion, user experience, and architecture. Sketching as Design Thinking explains how drawing and sketching remain a prominent aspect in our learning and creative process, and provides a rich resource for students of visual art and design.

This book argues narrative, people and place are inseparable and pursues the consequences of this insight through the design of narrative environments. This is a new and distinct area of practice that weaves together and extends narrative theory, spatial theory and design theory. Examples of narrative spaces, such as exhibitions, brand experiences, urban design and socially engaged participatory interventions in the public realm, are explored to show how space acts as a medium of communication through a synthesis of materials, structures and technologies, and how particular social behaviours are reproduced or critiqued through spatial narratives. This book will be of interest to scholars in design studies, urban studies, architecture, new materialism and design practitioners in the creative industries.

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.