Here are the design stories of everyday material, "stuff," from cars to Dustbusters, phonographs to DVDs, that makes our lives easier, more exciting, and more comfortable through mass-production. Descriptive vignettes and over 400 illustrations of popular culture as it progressed through the 20th century. Each year is an illustrated double-page spread, showing how design evolved in a precise timeline. Learn fascinating stories behind familiar products, the men and women who invented or designed them, and how their designs came to life or, in some cases, failed. It is the story of how America rose to world leadership through its unique ability to bring household conveniences and technological benefits to all, at reasonable cost, thus raising the nation's standard of living. Major technological developments and new materials that made innovative designs possible are also identified. For the industrial designer or student of design, this is a fantastic history of the profession, illustrating connections to invention, architecture, engineering, manufacturing, and business. Written by a distinguished industrial designer, the book offers a unique year-by-year chronology, "what was happening when" in design, and names its movers and shakers.

As the Great Depression started in 1929, several dozen creative individuals from a variety of artistic fields, including theatre, advertising, graphics, fashion and furniture design, pioneered a new profession. Responding to unprecedented public and industry demand for new styles, these artists entered the industrial world during what was called the "Machine Age," to introduce "modern design" to the external appearance and form of mass-produced, functional, mechanical consumer products formerly not considered art. The popular designs by these "machine designers" increased sales and profits dramatically for manufacturers, which helped the economy to recover; established a new profession, industrial design; and within a decade, changed American products from mechanical monstrosities into sleek, modern forms expressive of the future. This book is about those industrial designers and how they founded, developed, educated and organized today's profession of more than 50,000 practitioners.

For thousands of years, humans coped with heat by harvesting and storing natural ice and devising natural cooling systems that utilized ventilation and evaporation. By the mid 1800s, people began developing huge refrigeration machines to manufacture ice. By the early 1900s, engineers developed electric domestic refrigerators, which by 1927 were affordable convenient household appliances. By then, an increasingly sophisticated public demanded more modern-looking appliances than engineers could produce, and a new breed of designers entered the manufacturing world to provide them. During the Depression, modern designs not only increased sales but resulted in the kitchen appliances we now use. Today refrigeration preserves perishable food for worldwide distribution, makes tropical climates habitable for millions, saves lives with medical applications and enables space flight.

The Covid-19 crisis and the designed interventions that the authors have catalogued in this book prove definitively that design does care. The authors documented this as it evolved every day from the 1st January 2020 to 31st May 2020 inclusive. Then they looked at all of this care and caring from the point of view of design and, by the sheer volume of design interventions they have documented, illustrate that design is good in a crisis. What the Covid-19 pandemic illustrated is that for the first time in modern history, capital was totally irrelevant. Money could not save your life. Only design could. Rapidly designed masks, shelters, hospitals, instructional posters, infographics, dashboards, respirators, sanitisers, virtual and local communities emerged to save us. From January 2020, design became king. The Covid-19 global pandemic presented an ontological reality; design is more than margins or profit. In fact, design became extremely valuable when it stopped concentrating on those things and started to care about peoples’ lives. This brief episode in history is still repositioning the status of design and reconfiguring its signifier from consumption to care. The contents of this book cover the outbreak, lockdown, and the beginning of the reopening in the UK. In between, the book functions as a history of pandemic crisis design interventions. As such it is a “research-in-the-moment project” where we have illustrated our thoughts and insights in tables, charts and diagrams. We have accepted all design interventions as valid and given them the same role and status by presenting each of them in a standard format. No curation. No selection. No position. The task of critical analysis must follow – perhaps by us, certainly by others.

Digital technology is fundamentally altering the world we live in, but can only be truly understood in relation to the physical world we all inhabit. The most successful future products and policies will be those that take this rich digital/physical ecology seriously. The physical world is increasingly filled with digital products to the extent that the boundaries of digital and physical reality become blurred. From mundane devices such as mobile phones and washing machines, to esoteric research including tangible computation and body implants, we continually bridge two worlds literally touching buttons and dials and simultaneously interacting with the digital systems that lie behind them. The connection between pure thought and abstract information is through solid keyboard and mouse; but likewise the material world of buildings, cars and running shoes is suffused with computation through sensors, displays and flashing LEDs. How do people understand this world and how can designers create usable hybrid physical-digital products? TouchIT brings together insights from human-computer interaction and industrial design, exploring these themes under four main headings: human body and mind; objects and things; space; and information and computation. In considering each, the authors look into the underlying physical processes, our human understanding of them, and then the way these inform and are informed by digital design. The end draws together the theoretical and practical implications of this for design, including practical advice, potential tools, and philosophical underpinnings.

Good poetry is like a good painting: the more you linger over it, the more it reveals. It is a deep well that never runs dry. And that is why the Psalter, like a good painting, keeps giving. In the last four decades, Psalms scholarship has found remarkable fruitfulness in reading the Psalter as a book--that is, in reading the Psalms as a unified composition with a metanarrative across its 150 poems. Pivotal questions associated with this approach really boil down to two questions--how and why? How are individual psalms sequenced, if at all, and what is the design logic behind that macrostructure? This volume seeks to answer those questions. In essence, the Psalter unfurls the story of the Davidic covenant. While interest in the editing of the Psalter remains high in recent Psalms scholarship, this interest has not led to clear consensus. The specific and timely contribution of this volume is twofold. First, it consolidates the results of studies on groups of psalms. Second, it integrates poetic and thematic approaches that are typically separated in Psalms scholarship. Readers will find results of this study surprising and their implications sobering.