The annual graduation show of the Design Academy Eindhoven has been a tradition since 1991. Over the years the accompanying publication has evolved from a modest production to something more like an encyclopaedia. This year, given the scale and ambition this undertaking has reached, a curatorial team was commissioned to undertake a subjective exploration of the work produced by its graduates, placing them in dialogue with one another according to a set of topics, ideas, urgencies, and ambitions that traverse each other in unexpected ways. As such, this year?s catalogue is more like novel, but one in which readers are invited to find their own narrative threads. 00Exhibition: Graduation Show, Design Academy, Eindhoven, The Netherlands (19.-27.10.2019).

Voices of Design Leadership Provides inspiration to architecture and design students and professionals through the insights, stories, and projects of successful design leaders Voices of Design Leadership seeks to educate, inform, and inspire a new generation of diverse design leaders. The work includes sixteen profiles of design leaders in architecture, interior design, planning, and research, many of whom are leaders at firms that have earned the AIA’s national Architecture Firm Award. The stories and projects from their own professional journeys illustrate multiple paths to design leadership success. Individually, each person stands on their own as an inspiring and inf luential design leader. Collectively, they express what design leadership can and should look like. Representing a broad diversity of expertise and demographics—including nine women, seven people of color, and five first-generation immigrants—they bring a variety of life experiences and cultural backgrounds to their award-winning work. Sample topics discussed in the work include: The power of diversity Finding and developing design talent Design philosophy and research investments Coaching, mentoring, team collaboration, and community engagement Advice for emerging design leaders Students of architecture, engineering, construction, and real estate will find value and inspiration from Voices of Design Leadership and gain insight into the thought processes of established leaders in their fields. The work also appeals to young and mid-career professionals, clients, and educators exploring the next steps of their own career journeys.

A collection of sketches and watercolours by Mikkel Frost, co-founder of Danish architecture firm CEBRA, champions drawing as a communication tool. ‘Architects do not actually build buildings,’ says Frost. ‘What we build is an idea. To visualize it, we build drawings.’ The evolutionary process of how aphorisms develop into precise architectural concepts is illustrated through a collection of Frost’s sketches and watercolours. Over 200 drawings are organized into 20 sections, each relating to one of CEBRA’s projects. An index containing colour photographs and renders of their works further illuminates how the drawings are translated into reality. Introducing the book, a written version of Frost’s TEDx talk Let your fingers do the talking elaborates on the book’s impetus: to bring a spotlight to the craft of drawing as a powerful tool for creation and communication. Features • A collection of 200+ sketches and watercolours by Danish architect Mikkel Frost. • A curated selection of drawings is organized into 20 sections, each referring to one of the projects by internationally recognized architecture firm CEBRA. • The book provides insight into the architect’s creative process, illustrating how an idea develops into a well-defined concept. • In a compact and handy format, the book champions drawing as a powerful and important communication tool for everyone.

Retreat is a lexicon, or inventory of language, to describe the action of withdrawal from civic life. By creating a spatial approach to the language of “escape”, the publication attempts to widen the definitions of familiar terms such as safety, surveillance, and self-reliance. The lexicon draws attention to current global events, such as the thread of epidemic disease, climate catastrophe, the militarization of public space and the impact of mass surveillance on daily life, specifically the emotional and social impact of the presence of unknown and potentially life threatening elements. The editorial approach for the lexicon is to investigate the notion and practices of retreat, its strategies and imaginaries, through others’ words as they inform contemporary spatial paradigms. A wide variety of source types (from blogs to Wikipedia to academic texts) and media (photographs, films,books, objects) and forms of literary genres are mobilized to create a portrait of retreat that describes not only militarized zones but dreams and anxieties of individuals across the globe, helping us better understand how humans might negotiate civil and human rights and freedoms within civic society at large.

In this first book about the rather young discipline, the author consolidated its key principles, so that they can be consulted, referenced and utilised by both design students and professionals. Only when the perfect balance between visual beauty and functional performance is achieved, can a product provide a consistent and successful user experience. The discipline of CMF design focuses on designing and specifying colours, materials and finishes to support both functional and emotional attributes of products. The work of the CMF designer combines aesthetics and practical knowledge of materials and technologies with intangible human perceptions of value. This area of design expertise is increasingly in demand. Consumer product manufacturers have an enhanced awareness of its great potential for diversifying product portfolios at relatively low costs, while still maintaining a similar or the same product shape, functionality or tooling. It can work as a key avenue to create a sense of novelty and higher value propositions. From a marketing perspective, CMF design is a valuable tool when it comes to positioning products, collections and categories according to market tiers and consumer segmentations. Introducing the CMF process and detailing the areas of colour, material and finish design, this book serves as a valuable source of information about this emerging professional discipline and its fundamental principles.

Fabricate 2020 is the fourth title in the FABRICATE series on the theme of digital fabrication and published in conjunction with a triennial conference (London, April 2020). The book features cutting-edge built projects and work-in-progress from both academia and practice. It brings together pioneers in design and making from across the fields of architecture, construction, engineering, manufacturing, materials technology and computation. Fabricate 2020 includes 32 illustrated articles punctuated by four conversations between world-leading experts from design to engineering, discussing themes such as drawing-to-production, behavioural composites, robotic assembly, and digital craft.

How posthumanist design enables a world in which humans share center stage with nonhumans, with whom we are entangled. Over the past forty years, designers have privileged human values such that human-centered design is seen as progressive. Yet because all that is not human has been depleted, made extinct, or put to human use, today's design contributes to the existential threat of climate change and the ongoing extinctions of other species. In Things We Could Design, Ron Wakkary argues that human-centered design is not the answer to our problems but is itself part of the problem. Drawing on philosophy, design theory, and numerous design works, he shows the way to a relational and expansive design based on humility and cohabitation. Wakkary says that design can no longer ignore its exploitation of nonhuman species and the materials we mine for and reduce to human use. Posthumanism, he argues, enables a rethinking of design that displaces the human at the center of thought and action. Weaving together posthumanist philosophies with design, he describes what he calls things--nonhumans made by designers--and calls for a commitment to design with more than human participation. Wakkary also focuses on design as "nomadic practices"--a multiplicity of intentionalities and situated knowledges that shows design to be expansive and pluralistic. He calls his overall approach "designing-with": the practice of design in a world in which humans share center stage with nonhumans, and in which we are bound together materially, ethically, and existentially.