"This book makes reference to the full spectrum of design disciplines, providing examples from architecture, interior, product, graphic and fashion design, from a variety of cultures. It provides examples and illustrations from a wide range of topics from the Big Bang to The Matrix, cave wall drawings to Twitter and Modernism to mass culture."--Publisher.

We cannot preach outwardly about empathy for those we're designing for if as designers, researchers, architects, developers, we're not supporting each other. The notion of being human-centered has an innate synergy between design process (and ultimate product) and office culture (and empathetic interactions).

This book presents new ways of facilitating design thinking, through the combination of cognitive design strategies and information technologies. It provides readers with an in-depth understanding of the traditional and digital design processes and activities that are employed in architecture, computational design, communication design and graphic design. The book is divided into three parts: Part I, which focuses on creativity, uses evidence derived from empirical studies to develop an understanding of the way computational environments shape design thinking and may lead to more inventive outcomes. Part II considers the cognitive dimensions of design teams, crowds and collectives. It investigates the ways digital design platforms promote interactive and collective thinking. Lastly, Part III addresses culture, examining the linguistic and cultural context of the globalised design ecosystem. Providing valuable insights into design thinking, this book helps readers engage with their local and global environments. It will appeal to academics, researchers and professionals with an interest in understanding design thinking in the context of creativity, collaboration and culture.

Design and other creative industries not only shape our lives in numerous ways, providing 'cultural' goods such as films, music and magazines, but also shape the look and feel of everyday objects and spaces. The creative industries are also important economically; governments and businesses now make considerable efforts to manage creativity for a range of political and economic ends. Does the management of design conflict with traditional ideas of creative freedom and autonomy? How do government policies and business priorities influence the day-to-day practices of designers? And how far have the processes and purpose of creative work been changed by its new centrality to business and government? Bringing together case studies and material from a range of industries and contexts, as well as a series of interviews with practitioners, Design and Creativity provides a cutting-edge account of key trends in the creative industries at the start of the twenty-first century.

We create human-centered interactions and experiences in our eld. Empathetic purpose drives our every decision. Mobile First? In reality, it's humans first. This same mentality, turned inward, forms the cornerstone of something amazing: a creative culture. Designers and front-enders have a unique advantage in solving the cultural problems in business that are sucking the life out of us. Several, in fact. The principles discussed in this book derive from the perspectives and skillsets we already use daily: empathy, objectivity and, yes, ample creativity. Join Justin Dauer as he notes through examples, case studies, and human-centered tactics how we can all get there. Foreword by Jeffrey Zeldman, founder of A List Apart / co-founder of A Book Apart.

This book, at the crossroads of creativity, design and interdisciplinary studies, offers an overview of these major trends in scientific research, society, culture and economics. It brings together different approaches and communities around a common reflection on interdisciplinary creative design thinking. This collective effort provides a unique dialogical and convergent space that deals with the challenges and opportunities met by researchers and practitioners working on design thinking, creativity and inter- and transdisciplinarity, or at the interface between these areas.

Contemporary society has seen an unprecedented rise in both the demand and the desire to be creative, to bring something new into the world. Once the reserve of artistic subcultures, creativity has now become a universal model for culture and an imperative in many parts of society. In this new book, cultural sociologist Andreas Reckwitz investigates how the ideal of creativity has grown into a major social force, from the art of the avant-garde and postmodernism to the ‘creative industries’ and the innovation economy, the psychology of creativity and self-growth, the media representation of creative stars, and the urban design of ‘creative cities’. Where creativity is often assumed to be a force for good, Reckwitz looks critically at how this imperative has developed from the 1970s to the present day. Though we may well perceive creativity as the realization of some natural and innate potential within us, it has rather to be understood within the structures of a very specific culture of the new in late modern society. The Invention of Creativity is a bold and refreshing counter to conventional wisdom that shows how our age is defined by radical and restrictive processes of social aestheticization. It will be of great interest to those working in a variety of disciplines, from cultural and social theory to art history and aesthetics.