With many new forms of digital media–including such popular social media as Facebook, Twitter, and Flickr—the people formerly known as the audience no longer only consume but also produce and even design media. Jonas Löwgren and Bo Reimer term this phenomenon collaborative media, and in this book they investigate the qualities and characteristics of these forms of media in terms of what they enable people to do.
When this book first appeared in 1972, it was part of the spirit that would define a new architecture and design era--a new way of thinking ready to move beyond the purist doctrines and formal models of modernism. Charles Jencks and Nathan Silver’s book was a manifesto for a generation that took pleasure in doing things ad hoc, using materials at hand to solve real-world problems. The implications were subversive. Turned-off citizens of the 1970s immediately adopted the book as a DIY guide.
In The Aesthetics of Imagination in Design, Mads Folkmann investigates design in both material and immaterial terms. Design objects, Folkmann argues, will always be dual phenomena—material and immaterial, sensual and conceptual, actual and possible. Drawing on formal theories of aesthetics and the phenomenology of imagination, he seeks to answer fundamental questions about what design is and how it works that are often ignored in academic research.
In Contagious Architecture, Luciana Parisi offers a philosophical inquiry into the status of the algorithm in architectural and interaction design. Her thesis is that algorithmic computation is not simply an abstract mathematical tool but constitutes a mode of thought in its own right, in that its operation extends into forms of abstraction that lie beyond direct human cognition and control. These include modes of infinity, contingency, and indeterminacy, as well as incomputable quantities underlying the iterative process of algorithmic processing.
Mid-twentieth-century California offered fertile ground for design innovations. The state’s reputation as a land of unlimited opportunity, its many institutions of higher learning, and its perpetually booming population created conditions that allowed designers and craftspeople to flourish. They found an eager market among educated and newly affluent Californians, and their products shaped the material culture of the entire nation.
In the 1960s and 1970s, the artist Ed Ruscha created a series of small photo-conceptual artist’s books, among them Twentysix Gas Stations, Various Small Fires, Every Building on the Sunset Strip, Thirtyfour Parking Lots, Real Estate Opportunities, and A Few Palm Trees. Featuring mundane subjects photographed prosaically, with idiosyncratically deadpan titles, these “small books” were sought after, collected, and loved by Ruscha’s fans and fellow artists.
Interactive visualization is emerging as a vibrant new form of communication, providing compelling presentations that allow viewers to interact directly with information in order to construct their own understandings of it. Building on a long tradition of print-based information visualization, interactive visualization utilizes the technological capabilities of computers, the Internet, and computer graphics to marshal multifaceted information in the service of making a point visually.
The mobile device is changing the ways we interact with each other and with the world. The mobile experience is distinct from the desktop or laptop experience; mobile apps require a significantly different design philosophy as well as design methods that reflect the unique experience of computing in the world. This book presents an approach to designing mobile media that takes advantage of the Internet-connected, context-aware, and media-sharing capabilities of mobile devices.
When the fashion industry declares that lime green is the new black, or instructs us to “think pink!,” it is not the result of a backroom deal forged by a secretive cabal of fashion journalists, designers, manufacturers, and the editor of Vogue. It is the latest development of a color revolution that has been unfolding for more than a century.
Humans did not discover fire--they designed it. Design is not defined by software programs, blueprints, or font choice. When we create new things--technologies, organizations, processes, systems, environments, ways of thinking--we engage in design. With this expansive view of design as their premise, in The Design Way Harold Nelson and Erik Stolterman make the case for design as its own culture of inquiry and action. They offer not a recipe for design practice or theorizing but a formulation of design culture’s fundamental core of ideas.