The Design Dialogue anthology is a remarkable exploration of the decisive role of Jewish patrons, professionals, architects, designers and authors in shaping modern Viennese architecture, design, and material culture. Leading cultural historians, museum curators, art historians, and architects present cutting edge research examining how famous and less known protagonists created new cultural languages, identifications and networks, engaged in social debates, and contributed to the cultural renewal of Vienna, a major capital in Central Europe, between 1800 and 1938.

Fresh Dialogue 6: Friendly Fire inaugurates a bold new direction for this popular series of roundtable discussions by emerging designers. The new design is leaner and meanermore like a manifesto than a catalogand ready to inspire. The 62 is a Brooklyn-based design and art collective that works with designers, artists, and social and not-for-profit organizations on projects that involve a vision of sustainable culture within a contemporary urban environment. Crye Associates design, engineer, and fabricate everything from light switches and handheld PCs to handgun components and GP racing motorcycles. As lead contractors on the U.S. military's Project Scorpion they are reinventing everything worn or carried by asoldier. In Fresh Dialogue 6, The 62 and Crye Associates discuss their similarities and differences with special emphasis on the large gray area in between.

This is the second volume to offer a cross-disciplinary approach to examining dialogue as a communicative medium. It explores different modes of conversation and the application of design conversation within and across various types of human experiences. Coverage examines design conversation from philosophical, cultural, spiritual, and historical perspectives. It also explores philosophical and theoretical perspectives as well as methodological ideas related to conversation.

This book showcases the work of design agency, the Carbone Smolan Agency.

Program sponsored by the American Institute of Graphic Arts, New York Chapter and held annually since 1984.

Experience-centered design, experience-based design, experience design, designing for experience, user experience design. All of these terms have emerged and gained acceptance in the Human-Computer Interaction (HCI) and Interaction Design relatively recently. In this book, we set out our understanding of experience-centered design as a humanistic approach to designing digital technologies and media that enhance lived experience. The book is divided into three sections. In Section 1, we outline the historical origins and basic concepts that led into and flow out from our understanding of experience as the heart of people's interactions with digital technology. In Section 2, we describe three examples of experience-centered projects and use them to illustrate and explain our dialogical approach. In Section 3, we recapitulate some of the main ideas and themes of the book and discuss the potential of experience-centered design to continue the humanist agenda by giving a voice to those who might otherwise be excluded from design and by creating opportunities for people to enrich their lived experience with and through technology.