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"Design Human factors."
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Becoming human by design
\"The last in Tony Fry's celebrated trilogy of books continues his radical rethinking of design. 'Becoming Human by Design's provocative argument presents a revised reading of human 'evolution' centred on ontological design. Examining the relation of design to the nature of the human species - where the species came from, how it was created, what it became and its likely future - Fry asserts that current biological and social models of evolution are an insufficient explanation of how 'we humans' became what we are. Making a case for ontological design as an evolutionary agency, the book posits the relation between the formation of the world of human fabrication and the making of mankind itself as indivisible. It also functions as a provocation to rethink the fate of Homo sapiens, recognising that all species are finite and that the fate of humankind turns on a fundamental Darwinian principle - adapt or die. Fry considers the nature of adaptation, arguing that it will depend on an ability to think and design in new ways\"--P. [4] of cover.
Rethinking Aesthetics
2013
Rethinking Aesthetics is the first book to bring together prominent voices in the fields of architecture, philosophy, aesthetics, and cognitive sciences to radically rethink the relationship between body and design. These essays argue that aesthetic experiences can be nurtured at any moment in everyday life, thanks to recent discoveries by researchers in neuroscience, phenomenology, somatics, and analytic philosophy of the mind, who have made the correlations between aesthetic cognition, the human body, and everyday life much clearer.
The essays, by Yuriko Saito, Juhani Pallasmaa, and Richard Shusterman, among others, range from an integrated mind-body approach to chair design, to Zen Buddhist notions of mindfulness, to theoretical accounts of existential relationships with buildings, to present a full spectrum of possible inquiries. By placing the body in the center of design, Rethinking Aesthetics opens new directions for rethinking the limits of both essentialism and skepticism.
The hidden factor : mark and gesture in visual design
\"Traditionally, graphic design communicates through image and text. Skaggs argues that gestural touch is an indespensable third element that marks nearly all visual communication, especially typography\"-- Provided by publisher.
Designing the Creative Child
The postwar American stereotypes of suburban sameness, traditional gender roles, and educational conservatism have masked an alternate self-image tailor-made for the Cold War. The creative child, an idealized future citizen, was the darling of baby boom parents, psychologists, marketers, and designers who saw in the next generation promise that appeared to answer the most pressing worries of the age. Designing the Creative Child reveals how a postwar cult of childhood creativity developed and continues to this day. Exploring how the idea of children as imaginative and naturally creative was constructed, disseminated, and consumed in the United States after World War II, Amy F. Ogata argues that educational toys, playgrounds, small middle-class houses, new schools, and children's museums were designed to cultivate imagination in a growing cohort of baby boom children. Enthusiasm for encouraging creativity in children countered Cold War fears of failing competitiveness and the postwar critique of social conformity, making creativity an emblem of national revitalization. Ogata describes how a historically rooted belief in children's capacity for independent thinking was transformed from an elite concern of the interwar years to a fully consumable and aspirational ideal that persists today. From building blocks to Gumby, playhouses to Playskool trains, Creative Playthings to the Eames House of Cards, Crayola fingerpaint to children's museums, material goods and spaces shaped a popular understanding of creativity, and Designing the Creative Child demonstrates how this notion has been woven into the fabric of American culture.
Design for good : a new era of architecture for everyone
The book reveals a new understanding of the ways that design shapes our lives and gives professionals and interested citizens the tools to seek out and demand designs that dignify.
New Demographics New Workspace
by
Bichard, Jo-Anne
,
Erlich, Alma
,
Myerson, Jeremy
in
Case studies
,
Design
,
Design -- Human factors
2010,2016
Offices shape the lives of millions of people. How we plan, design and equip them says a great deal about the culture of organisations, the mentality of managers and the motivations of staff. But getting the right balance between management efficiency and individual wellbeing is as elusive as ever. New Demographics New Workspace looks for answers in some new places. The authors address ways in which the office environment can be redesigned to offer greater levels of comfort, flexibility and fitness for purpose in the new age of the older knowledge worker. Based on the findings of the authors 'Welcoming Workplace' research project at the Royal College of Art Helen Hamlyn Centre, New Demographics New Workspace examines the impact of two of the most significant shifts in the workplace: the ageing of the workforce and the changing nature of work itself in the knowledge economy. By examining the movements and motivations of older knowledge workers in the UK, Japan and Australia, the authors have generated new conceptual approaches to office design that offer an alternative to the current outdated model derived from the factory floor. In particular they question the value of open-plan offices that favour collaboration over concentration and contemplation. Given the growing pensions crisis and anticipated knowledge gap in the workforce in many developed countries, this book has real political, economic and social resonance. If we are all going to have extended working lives in the 21st century, the places in which we work will need to flex and adapt to make us want to keep on working.
The human side of innovation : the power of people in love with people
\"PepsiCo's and 3M's award-winning chief design officer reveals the secret to creating life-changing innovations: putting the human factor at the center of everything. In every industry, new technologies have lowered the barrier to entry like never before. Either you design exceptional products, brands and experiences, or somebody will beat you to it. And Mauro Porcini-PepsiCo's and 3M's first ever chief design officer-says, the key to real, world-changing innovation is to put people first. Putting people first requires what Porcini calls unicorns: people who are in love with people and who have a genuine fire in them to create meaningful solutions for actual human beings. In this book, he describes them, celebrates them, and details their superpowers so you can find them, hire them, grow them, and retain them. Some have qualities you might expect-the ability to dream and an attention to detail-but when was the last time you heard an executive ask prospective hires if they were kind or humble? Porcini uses his journey across startups and multinational corporations, through successes and failures, to create a handbook for modern innovators. This book is written by a celebrated designer, high-level corporate executive, and a decent human being\"-- Provided by publisher.
Design by Use
by
Wender, Miriam
,
Stich, Sonja
,
Brandes, Uta
in
Architecture
,
ARCHITECTURE / Design, Drafting, Drawing & Presentation
,
Design
2013,2009,2008
This publication explores and analyzes a very special kind of design - the phenomenon, as normal as it is wonderful, in which people with no formal training in design take things that have already been designed and reuse them, convert them to new uses, in short, \"misuse\" them in the very best sense of the word. Non-intentional design (NID) goes on every day, in every area of life, in every region of the world. Redesign through reuse makes things multifunctional and cleverly combines them to generate new functions. It is often reversible, resource-friendly, improvisational, innovative, and economical. It can become a source of inspiration for design, provided professional designers look up and take notice of what actually happens to all the things they design when they are used.