As the world has entered the era of big data, there is a need to give a semantic perspective to the data to find unseen patterns, derive meaningful information, and make intelligent decisions. This 2-volume handbook set is a unique, comprehensive, and complete presentation of the current progress and future potential explorations in the field of data science and related topics. Handbook of Data Science with Semantic Technologies provides a roadmap for a new trend and future development of data science with semantic technologies. The first volume serves as an important guide towards applications of data science with semantic technologies for the upcoming generation and thus becomes a unique resource for both academic researchers and industry professionals. The second volume provides a roadmap for the deployment of semantic technologies in the field of data science that enables users to create intelligence through these technologies by exploring the opportunities while eradicating the current and future challenges. The set explores the optimal use of these technologies to provide the maximum benefit to the user under one comprehensive source. This set consisting of two separate volumes can be utilized independently or together as an invaluable resource for students, scholars, researchers, professionals, and practitioners in the field.

Steel has, over centuries, played a crucial role in shaping our material, and in particular, urban landscapes. This books undertakes a cultural and ecological history of the material, examining the relationship between steel and design at a micro and macro level - in terms of both what it has been used to design and how it has functioned as a 'world-making force', necessary to the development of technologies and ideas. The research for the book is informed by diverse fields of literature including industry journals, contemporary accounts and technical literature - all framed by rich, early accounts of iron and steel making from the middle ages to the opening of the industrial age, and most notably, the crucial works of Vannoccio Biringuccio, Georgius Agricola, Andrew Ure and Harry Scrivenor. In contrast, trans-cultural accounts of the history of metallurgy from eminent sinologists and cultural historians like Joseph Neeham and G.E.R. Lloyd are used. Readings on the pre-history and history of science, as well as histories and philosophies technology from scholars such as Siegfried Giedion, Merritt Roe Smith, L.T.C Rolt, Robert B. Gordon inform the analysis. Social and economic history from historians such as Eric Hobsbawn, William T. Hogan and David Brody are consulted; labour process theory is also examined, particularly the influential writings of F.W. Taylor in the late 19th and early 20th centuries and his contemporary critics, like David Nobel and Harry Braverman. Many other disciples also inform the account: histories of urban design and architecture, transport and military history, environmental history and geography.

Design and the Question of History is not a work of Design History. Rather, it is a mixture of mediation, advocacy and polemic that takes seriously the directive force of design as an historical actor in and upon the world. Understanding design as a shaper of worlds within which the political, ethical and historical character of human being is at stake, this text demands radically transformed notions of both design and history. Above all, the authors posit history as the generational site of the future. Blindness to history, it is suggested, blinds us both to possibility, and to the foreclosure of possibilities, enacted through our designing. The text is not a resolved, continuous work, presented through one voice. Rather, the three authors cut across each other, presenting readers with the task of disclosing, to themselves, the commonalities, repetitions and differences within the deployed arguments, issues, approaches and styles from which the text is constituted. This is a work of friendship, of solidarity in difference, an act of cultural politics. It invites the reader to take a position - it seeks engagement over agreement.

This book explores the evolution of products from the beginning idea through mass-production. Rather than prescribing a one-size-fits-all process, the authors explain the theory behind product development and challenge readers to develop their own customized development process uniquely suited for their individual situation. In addition to theory, the book provides development case studies, exercises and self-evaluation criteria at the end of each chapter, and a product development reference that introduces a wide variety of design tools and methods. Class-tested for three consecutive years by hundreds of students in four different courses, the book is an ideal text for senior design classes in mechanical engineering and related disciplines as well as a reference for practicing engineers/product designers.

The management of design has emerged as central to the operational and strategic options of any successful organization. The Handbook of Design Management presents a state-of-the-art overview of the subject - its methodologies, current debates, history and future. The Handbook covers the breadth of principles, methods and practices that shape design management across the different design disciplines. These theories and practices extend from the operational to the strategic, from the product to the organization. Bringing together leading international scholars, the Handbook provides a guide to the latest research in the field. It also documents the shifts that have been taking place both in management and in design which have highlighted the value of design thinking and design education to organizations. Presenting the first systematic overview of the subject - and offering a wide range of examples, insights and analysis - the Handbook is an invaluable resource for researchers and students in design and management, as well as for design practitioners and professional managers.

Over the last decade, 'parametricism' has been heralded as a new avant-garde in the industries of architecture, urban design, and industrial design, regarded by many as the next grand style in the history of architecture, heir to postmodernism and deconstruction. From buildings to cities, the built environment is increasingly addressed, designed and constructed using digital software based on parametric scripting platforms which claim to be able to process complex physical and social modelling alike. As more and more digital tools are developed into an apparently infinite repertoire of socio-technical functions, critical questions concerning these cultural and technological shifts are often eclipsed by the seductive aesthetic and the alluring futuristic imaginary that parametric design tools and their architectural products and discourses represent. The Politics of Parametricism addresses these issues, offering a collection of new essays written by leading international thinkers in the fields of digital design, architecture, theory and technology. Exploring the social, political, ethical and philosophical issues at stake in the history, practice and processes of parametric architecture and urbanism, each chapter provides different vantage points to interrogate the challenges and opportunities presented by this latest mode of technological production.

Japandi is the newest and hottest trend in interiors: a harmonious combination of functionality, comfort, and the minimalist look that characterizes Scandinavian design, with the purest elegance of traditional Japanese craftsmanship. Japandi harmoniously blends Scandinavian hygge with wabi-sabi, a concept derived from Zen Buddhism that advocates peaceful sobriety and invites us to admire the beauty hidden in slight imperfections in nature. This first major survey of Japandi style will introduce the reader to the fundamentals, and to iconic objects that will transform an interior into a Japandi-inspired retreat. Chapter one of the book examines the converging principles that have contributed to the emergence of Japandi Style such as functionality, neutral colors, the importance of organic materials, and the thoughtful simplicity of shapes. Chapter two presents some of the most emblematic works of Japandi Style, and the design studios behind them. Chapter three gives examples of how to decorate and furnish rooms - the living room, dining room, bedroom, bathroom, winter garden, or home office - in Japandi Style.

The first and only survey of Japanese design as seen through the lens of Japan's traditional colour spectrum - an exquisitely packaged fresh take on a universally popular topic The traditional colours of Japan have been in use since the seventh century, originally to indicate rank and social hierarchy but, over time, their significance has broadened to include all manner of designed objects. This landmark volume celebrates a curated selection of 200 colours (iro in Japanese), with each traditional shade illustrated by one or more items - ranging from 16th-century kimonos to contemporary chairs, humble kitchen utensils to precious ceramics - providing a unique route to a deeper appreciation of Japanese design. Expertly bound in a traditional Japanese style, this stunning book is a beautiful design object in its own right and is a must-have for all lovers of design.

Brands and logos are all around us - from the clothes we wear and the objects we buy, to the advertisements which cover our cities and the celebrities created by the media. We regard the brand as a new phenomenon, something born with the consumer society, but branding was born with civilization, its earliest examples dating to the Roman Empire.Branding is now a growing industry, applied not only to commodities but to charities, cities, the worlds of sport and entertainment, even government initiatives. Such is the ubiquity and power of branding that it is increasingly taken as a sign of the commodification of everyday life and the rapacity of corporate power. Examining the brand in history, the growth of national and global brands, the changing approaches of the branding industry and the exploration of new spaces for advertising, The Rise of Brands analyses exactly how brands develop and operate in contemporary society.

"Design as Politics" confronts the inadequacy of contemporary politics to deal with unsustainability. Current "solutions" to unsustainability are analysed as utterly insufficient for dealing with the problems but, further than this, the book questions the very ability of democracy to deliver a sustainable future. "Design as Politics" argues that finding solutions to this problem, of which climate change is only one part, demands original and radical thinking. Rather than reverting to failed political ideologies, the book proposes a post-democratic politics. In this, design occupies a major role, not as it is but as it could be if transformed into a powerful agent of change, a force to create and extend freedom. The book does no less than position design as a vital form of political action.

Charlotte Perriand was one of great designers of the twentieth century. A pioneer of modernism, her work was often overshadowed by her more famous male collaborators, who included Le Corbusier, Pierre Jeanneret and Jean Prouve. However, in recent years her reputation as a furniture designer and architect has matched the stature of her peers - her furniture in particular has become highly prized by collectors. From the 1920s onwards, Perriand was instrumental in bringing the modernist aesthetic to interiors. But she also believed in the synthesis of the arts, and was friends with visual artists such as Pablo Picasso and Fernand Leger. This book will explore Perriand's journey from the machine aesthetic to her adoption of natural forms, and from modular furniture systems to major architectural projects such as Les Arcs ski resort. Featuring some of her most famous interiors, as well as her original furniture, her photography and her personal notebooks, this book sheds new light on Perriand's creative process and her place in design history. It will accompany the forthcoming Design Museum exhibition of the same title, which will coincide with the twenty-fifth anniversary of Perriand's last significant presentation in London, held at the Design Museum in 1996.