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.

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.

Many designs that appear in today's society will circulate and encounter audiences of many different cultures and languages. With communication comes responsibility; are designers aware of the meaning and impact of their work? An image or symbol that is acceptable in one culture can be offensive or even harmful in the next. A typeface or colour in a design might appear to be neutral, but its meaning is always culturally dependent. If designers learn to be aware of global cultural contexts, we can avoid stereotyping and help improve mutual understanding between people. Politics of Design is a collection of visual examples from around the world. Using ideas from anthropology and sociology, it creates surprising and educational insight in contemporary visual communication. The examples relate to the daily practice of both online and offline visual communication: typography, images, colour, symbols, and information. Politics of Design shows the importance of visual literacy when communicating beyond borders and cultures. It explores the cultural meaning behind the symbols, maps, photography, typography, and colours that are used every day. It is a practical guide for design and communication professionals and students to create more effective and responsible visual communication.

Since its inception in 1968, software engineering has undergone numerous changes. In the early years, software development was organized using the waterfall model, where the focus of requirements engineering was on a frozen requirements document, which formed the basis of the subsequent design and implementation process. Since then, a lot has changed: software has to be developed faster, in larger and distributed teams, for pervasive as well as large-scale applications, with more flexibility, and with ongoing maintenance and quick release cycles. What do these ongoing developments and changes imply for the future of requirements engineering and software design? Now is the time to rethink the role of requirements and design for software intensive systems in transportation, life sciences, banking, e-government and other areas. Past assumptions need to be questioned, research and education need to be rethought. This book is based on the Design Requirements Workshop, held June 3-6, 2007, in Cleveland, OH, USA, where leading researchers met to assess the current state of affairs and define new directions. The papers included were carefully reviewed and selected to give an overview of the current state of the art as well as an outlook on probable future challenges and priorities. After a general introduction to the workshop and the related NSF-funded project, the contributions are organized in topical sections on fundamental concepts of design; evolution and the fluidity of design; quality and value-based requirements; requirements intertwining; and adapting requirements practices in different domains.

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.

With ever-increasing numbers of travel-savvy customers has come the need for hotels to upgrade their concept of what makes for a comfortable stay. The many innovative designs found in these pages are destined to redifine the concept of what a hotel should be - from a design perspective as well as using criteria of comfort for customers. Through documentation is provided in the form of floor plans, the architects' own sketches and notes, gorgeous, full-color photographs. Book jacket.

The vast medium of jewelry and fashion artefact design continues to be a central pillar of fashion luxury goods industries and artistic practice, but there is a lack of discussions on the researches, value and roles of it. Design is an expression of values and attitudes, and a tangible form of guiding the thoughts and desires of individuals and members of society. In the contemporary society, when science, technology and craftsmanship reach a stage, whether products and services become luxurious or not, its quality, uniqueness, artistry and rarity are all achieved through design. This book represents the articles from 20 outstanding design researchers from 11 countries, including many works from international designers, who are engaging with and pushing the boundaries of the medium. It contributes to these international debates on contemporary fashion and jewelry design while providing an accessible overview and a concise reference book.