The essays selected for this book, presented in chronological order, discuss various aspects of image-making technologies, geometrical knowledge and tools for architectural design, focusing in particular on two historical periods marked by comparable patterns of technological and cultural change. The first is the Renaissance; characterized by the rediscovery of linear perspectives and the simultaneous rise of new formats for architectural drawing and design on paper; the second, the contemporary rise of digital technologies and the simultaneous rise of virtual reality and computer-based design and manufacturing. Many of the contributing authors explore the parallel between the invention of the perspectival paradigm in early-modern Europe and the recent development of digitized virtual reality. This issue in turn bears on the specific purposes of architectural design, where various representational tools and devices are used to visualize bi-dimensional aspects of objects that must be measured and eventually built in three-dimensional space.

The creative strategies in Design for Transformative Learning offer a playful and practical approach to learning from and adapting to a rapidly changing world. Seeing continuous learning as more than the periodic acquisition of new skills this book presents a design-led approach to revising the stories we tell ourselves, unlearning old habits and embracing new practices. This book maps learning opportunities across the contemporary landscape, narrating global case studies from K12, higher education, design consultancies and researchers. It offers narrative context, best practices and emergent strategies for how designers can partner in the important work of advancing a lifetime of learning. Committed to driving sustained transformation this is a playbook of practical moves for designing memory-making, perspective-shifting, hands-on learning encounters. The book braids stories from design practice with theories of change, transformative learning literature, cognitive and social psychology research, affect theory and Indigenous knowing. Positioning the COVID-19 pandemic as a moment to question what was previously normalised, the book proposes playful strategies for seeding transformational change. The relational practice at the core of Design for Transformative Learning argues that if learning is to be transformative the experience must be embodied, cognitive and social. This book is an essential read for design and social innovation researchers, facilitators of community engagement and co-design workshops, design and arts educators and professional learning designers. It is a useful primer for K12 teachers, organisational change practitioners and professional development facilitators curious to explore the intersection of design and learning. The companion website for the book is a practical resource that connects to many of the projects, activities, methods, designers and stories introduced in the book. The site includes links to downloadable colour diagrams, templates for digital learning encounters, and additional reflective narratives on transformative experiences. www.designingtransformativelearning.com

Over the last four decades, John Dewey’s pragmatist philosophy has formed an intellectual core in design research, underpinning Donald Schön’s theory of reflective practice, the experiential perspective in HCI and the democratic commitments of participatory design. Taking these existing connections as a starting point, Brian Dixon explores how deeper alignments may be drawn between Dewey’s insights and contemporary design research’s concern with practice, meaning and collaboration. Chapter by chapter, a fresh intellectual approach is revealed, one which recognises the transformative power of doing, making and knowing as a force for positive change in the world. We see that, for Dewey, experience comes first. It connects us to surrounding world and the society of which we are part; good things can happen and new realities are possible—we just have to work for them. The implications for design research are vast. We are offered a new way of understanding designerly knowledge production, as well as the methodological implications of adopting Deweyan pragmatism in design research. Taken as a whole, Dewey and Design not only draws out the value of Dewey’s work for design research but also, crucially, offers a clear articulation of the value of design itself.

William H. Pinnell first issues an "invitation to investigate the magic of perspective and explore its wondrous surround," then escorts the beginning as well as the advanced student through the complex process of artistically conveying scene designs via the scenographic drawing. Step by step, he illustrates the principles of perspective that apply to stage design. Starting with a brief history of perspective, he furnishes all of the information designers will need to transform a blank surface into a unique expression of theatrical space. As Pinnell makes clear, a stage setting must be fully planned far in advance of its actual construction. Each designer must have a picture of how the setting will appear when it is ready for opening night. The scenic designer must then be able to render that picture, to communicate his or her ideas through a series of initial sketches that, combined with directorial consultation, eventually evolve into an approved plan for the actual setting. Many of these plans take the form of working drawings--floor plans, elevations, and the related schematics necessary for the shop staff to construct the design. Pinnell insists that as closely as possible, the model--the graphic and tangible rendering of the designer's vision--must reflect what the actual stage set will look like when the audience sees it in the performance. His concern is to show how one faithfully and accurately represents the actual, finished stage design through theatrical rendering. Pinnell achieves this goal through an introduction and six chapters. He provides the historical background in a chapter titled "The Perspective Phenomenon," which covers preclassical Greece, Greek and Roman notions of perspective, and the concepts of the Italian Renaissance. "The Perspective Grid: Learning the Basics" deals with drafting tools, drawing the perspective grid, and the basics of measuring on the perspective grid. "The Perspective Grid: Expanding the Basics" discusses transferring a simple interior setting, plotting curves, and creating levels. "The Perspective Grid: Variations" analyzes the thrust stage, the raked stage, and the two-point perspective grid. "Coloration and Form" explains varied backgrounds, color media, and rendering with gouache. Finally, "Presentation" explains protection, framing, duplication, and the portfolio. Except for the intricacies of the human anatomy, there is nothing a designer must draw scenically that is not covered in this book.

What is understanding and how does it differ from knowledge? How can we determine the big ideas worth understanding? Why is understanding an important teaching goal, and how do we know when students have attained it? How can we create a rigorous and engaging curriculum that focuses on understanding and leads to improved student performance in today's high-stakes, standards-based environment? Authors Grant Wiggins and Jay McTighe answer these and many other questions in this second edition of Understanding by Design. Drawing on feedback from thousands of educators around the world who have used the UbD framework since its introduction in 1998, the authors have greatly revised and expanded their original work to guide educators across the K-16 spectrum in the design of curriculum, assessment, and instruction. With an improved UbD Template at its core, the book explains the rationale of backward design and explores in greater depth the meaning of such key ideas as essential questions and transfer tasks. Readers will learn why the familiar coverage- and activity-based approaches to curriculum design fall short, and how a focus on the six facets of understanding can enrich student learning. With an expanded array of practical strategies, tools, and examples from all subject areas, the book demonstrates how the research-based principles of Understanding by Design apply to district frameworks as well as to individual units of curriculum. Combining provocative ideas, thoughtful analysis, and tested approaches, this new edition of Understanding by Design offers teacher-designers a clear path to the creation of curriculum that ensures better learning and a more stimulating experience for students and teachers alike.

There are books aplenty on materials selection criteria for engineering design. Most cover the physical and mechanical properties of specific materials, but few offer much in the way of total product design criteria. This innovative new text/reference will give the “Big picture view of how materials should be selected—not only for a desired function but also for their ultimate performance, durability, maintenance, replacement costs, and so on. Even such factors as how a material behaves when packaged, shipped, and stored will be taken into consideration. For without that knowledge, a design engineer is often in the dark as to how a particular material used in particular product or process is going to behave over time, how costly it will be, and, ultimately, how successful it will be at doing what is supposed to do. This book delivers that knowledge. * Brief but comprehensive review of major materials functional groups (mechanical, electrical, thermal, chemical) by major material categories (metals, polymers, ceramics, composites)* Invaluable guidance on selection criteria at early design stage, including such factors as functionality, durability, and availability* Insight into lifecycle factors that affect choice of materials beyond simple performance specs, including manufacturability, machinability, shelf life, packaging, and even shipping characteristics* Unique help on writing materials selection specifications

"One of the great things about the book is the way the authors explain concepts very simply using analogies rather than programming examples–this has been very inspiring for a product I'm working on: an audio-only introduction to OOP and software development." –Bruce Eckel "...I would expect that readers with a basic understanding of object-oriented programming and design would find this book useful, before approaching design patterns completely. Design Patterns Explained complements the existing design patterns texts and may perform a very useful role, fitting between introductory texts such as UML Distilled and the more advanced patterns books." –James Noble Leverage the quality and productivity benefits of patterns–without the complexity! Design Patterns Explained, Second Edition is the field's simplest, clearest, most practical introduction to patterns. Using dozens of updated Java examples, it shows programmers and architects exactly how to use patterns to design, develop, and deliver software far more effectively. You'll start with a complete overview of the fundamental principles of patterns, and the role of object-oriented analysis and design in contemporary software development. Then, using easy-to-understand sample code, Alan Shalloway and James Trott illuminate dozens of today's most useful patterns: their underlying concepts, advantages, tradeoffs, implementation techniques, and pitfalls to avoid. Many patterns are accompanied by UML diagrams. Building on their best-selling First Edition, Shalloway and Trott have thoroughly updated this book to reflect new software design trends, patterns, and implementation techniques. Reflecting extensive reader feedback, they have deepened and clarified coverage throughout, and reorganized content for even greater ease of understanding. New and revamped coverage in this edition includes Better ways to start "thinking in patterns" How design patterns can facilitate agile development using eXtreme Programming and other methods How to use commonality and variability analysis to design application architectures The key role of testing into a patterns-driven development process How to use factories to instantiate and manage objects more effectively The Object-Pool Pattern–a new pattern not identified by the "Gang of Four" New study/practice questions at the end of every chapter Gentle yet thorough, this book assumes no patterns experience whatsoever. It's the ideal "first book" on patterns, and a perfect complement to Gamma's classic Design Patterns. If you're a programmer or architect who wants the clearest possible understanding of design patterns–or if you've struggled to make them work for you–read this book.