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Diese Publikation erforscht und analysiert eine ganz besondere Form von Design: das ebenso normale wie wunderbare Phänomen, dass Menschen ohne Designanspruch bereits gestaltete Dinge umnutzen, anders nutzen, im besten Sinne "missbrauchen". Nicht Intentionales Design (NID) findet täglich, in jeder Lebenssphäre, in allen Teilen der Welt statt. Diese Umgestaltung durch Umnutzung macht die Dinge multifunktional, kombiniert mit kluger Erfindung neue Funktionen. Sie ist häufig reversibel, ressourcenschonend, improvisierend, innovativ, preiswert. Für das Design kann es zu einer Quelle der Inspiration werden, wenn die professionellen Designer erst einmal wahrnehmen, was im praktischen Gebrauch mit all den gestalteten Dingen tatsächlich geschieht.
Are there differences between design practice and the practice of design research? What alliances between text and artefact are possible in the search for new knowledge? How does design research translate and transform theories and methods from other disciplines? Is design research moving towards becoming a formal discipline and, if so, would this really be an advantage? 16 international authors address these four different aspects in the form of personal statements, and 19 researchers share their reflections based on their experience of having carried out a practice-based PhD. This book investigates the status quo of things in the multi-faceted and constantly evolving field of design research, and outlines the elementary issues faced by researchers. The compendium is a survey of a fast-growing field and, at the same time, provides pointers for personal orientation. With statements from: Uta Brandes, Rachel Cooper, Clive Dilnot, Michael Erlhoff, Alain Findeli, Bill Gaver, Ranulph Glanville, Matthias Held, Wolfgang Jonas, Klaus Krippendorff, Claudia Mareis, Mike Press, Elizabeth B.-N. Sanders, Arne Scheuermann, Cameron Tonkinwise, Brigitte Wolf
This dictionary provides a stimulating and categorical foundation for a serious international discourse on design. It is a handbook for everyone concerned with design in career or education, who is interested in it, enjoys it, and wishes to understand it. 110 authors from Japan, Austria, England, Germany, Australia, Switzerland, the Netherlands, the United States, and elsewhere have written original articles for this design dictionary. Their cultural differences provide perspectives for a shared understanding of central design categories and communicating about design. The volume includes both the terms in use in current discussions, some of which are still relatively new, as well as classics of design discourse. A practical book, both scholarly and ideal for browsing and reading at leisure.
The papers collected in this volume discuss the sensory dimension of cityscapes, with focus on touch and smell. Both have been traditionally considered "lower senses" and thus unworthy of being cultivated - objects of social prohibitions and targets of suppressing strategies in modern architecture and city planning. The book brings together approaches from anthropology, aesthetics, the theory of architecture, art and design research, psychophysiology, ethology, analytic chemistry, etc. (Series: Austria: Forschung und Wissenschaft - Interdisziplinar - Vol. 4)
Design today is a global instrument. Bernhard Bürdek traces the progress of design from its beginnings in the late 19th century, through the most significant movements of the 20th century up to those recent developments in biological engineering which will shape the 21st century. Design is now a discipline in its own right and its expertise can be incorporated within interdisciplinary processes. The most important fundamental principles of design theory and methodology are presented, looking in particular at the communicative function of products and highlighting aspects such as corporate and service design, design management, strategic design, interface/interaction design and human design.
"As someone who has spent forty years in psychology with a long-standing interest in evolution, I'll just assimilate Howard Bloom's accomplishment and my amazement."-DAVID SMILLIE, Visiting Professor of Zoology, Duke University In this extraordinary follow-up to the critically acclaimed The Lucifer Principle, Howard Bloom-one of today's preeminent thinkers-offers us a bold rewrite of the evolutionary saga. He shows how plants and animals (including humans) have evolved together as components of a worldwide learning machine. He describes the network of life on Earth as one that is, in fact, a "complex adaptive system," a global brain in which each of us plays a sometimes conscious, sometimes ...
Explores how a younger and more sensitive form of masculinity emerged in the United States after World War II. In the decades that followed World War II, Americans searched for and often founds signs of a new masculinity that was younger, sensitive, and sexually ambivalent. Male Beauty examines the theater, film, and magazines of the time in order to illuminate how each one put forward a version of male gendering that deliberately contrasted, and often clashed with, previous constructs. This new postwar masculinity was in large part a product of the war itself. The need to include those males who fought the war as menmany of whom were far younger than what traditional male gender definitions would accept as manlyextended the range of what could and should be thought of as masculine. Kenneth Krauss adds to this analysis one of the first in-depth examinations of how males who were sexually attracted to other males discovered this emerging concept of manliness via physique magazines.
Form Follows Function: Industrial Design and the Emergence of Postwar Economic Culture -- Producing Modern German Homes: The Economy of National Branding -- Intra-German Trade and the Aesthetic Dialectic of European Integration -- From Competition to Cooperation: Cold War Diplomacy of German Design -- Conservative Modernity: The Reception of Functionalism in German Living Rooms.
Tracing efforts to control unwanted sound--the noise of industry, city traffic, gramophones and radios, and aircraft--from the late nineteenth to the late twentieth century.
Design affects all social contexts and is therefore intensively instrumentalized both by the politically powerful and their critics. Both functions of design, and their inevitable combination, are presented in this book in precise detail. Authors from various countries present previously unknown and innovative examples of democratic activities conducted through design. This publication is therefore aimed not only at design professionals but also at the general public of all countries.