ALICE TWEMLOW

¿Para qué sirve el diseño gráfico? ¿Es posible seguir preguntándose hoy día si tiene una función específica? Como forma de comunicación humana que se inmiscuye en todos los aspectos de la vida social, el diseño grafico es una herramienta util y compleja conectada a multiples elementos que se estan demostrando fundamentales para la produccion cultural, tanto de ambito global como local, en la actualidad: sostenibilidad, etica, identidad, tecnologia, interdisciplinaridad, comunicacion multimedia. Este libro evita cuidadosamente ofrecer respuestas simplistas a estos interrogantes y aborda las cuestiones de mayor actualidad e impacto de esta disciplina. A traves de una investigacion en la que intenta desentrañar cuales son las claves de un diseño de exito, como funciona, y como comunica su mensaje a un publico objetivo, ¿Que es el diseño grafico? 2 analiza los diversos papeles que los diseñadores graficos pueden jugar hoy en dia y, al mismo tiempo, muestra ejemplos sorprendentes y brillantes de algunos de los diseñadores y estudios mas vanguardistas del mundo.

This city guide offers ideas for staging posts along the paths of New York. On its pages you will find exceptional designed environments and experiences that are idiosyncratic to New York - stylish in unconventional ways. They range from classic 19th-century spit-and-sawdust saloons, Jewish delicatessens and gas-lit chop-houses that have withstood the churn of constant urban renewal, to the sleek lounges, chic cafes, equisitel assembled boutiques and utterly contemporary hotels that are heralded as bastions of cool. If there is a unifying theme to New York's eclecticism, then it is panache: extreme panache. This "StyleCity" volume guides you to the total city experience: where to sleep, eat, drink, shop, retreat, explore, or just hang out in stimulating surroundings. It selects all the special places where locals as well as travellers will find a vibrant urban experience, and is accompanied by concise, informed texts and easy-to-read maps.

How product design criticism has rescued some products from the trash and consigned others to the landfill.Product design criticism operates at the very brink of the landfill site, salvaging some products with praise but consigning others to its depths through condemnation or indifference. When a designed products usefulness is past, the public happily discards it to make room for the next new thing. Criticism rarely deals with how a product might be used, or not used, over time; it is more likely to play the enabler, encouraging our addiction to consumption. With Sifting the Trash, Alice Twemlow offers an especially timely reexamination of the history of product design criticism through the metaphors and actualities of the product as imminent junk and the consumer as junkie. Twemlow explores five key moments over the past sixty years of product design criticism. From the mid-1950s through the 1960s, for example, critics including Reyner Banham, Deborah Allen, and Richard Hamilton wrote about the ways people actually used design, and invented a new kind of criticism. At the 1970 International Design Conference in Aspen, environmental activists protested the design establishments lack of political engagement. In the 1980s, left-leaning cultural critics introduced ideology to British design criticism. In the 1990s, dueling London exhibits offered alternative views of contemporary design. And in the early 2000s, professional critics were challenged by energetic design bloggers. Through the years, Twemlow shows, critics either sifted the trash and assigned value or attempted to detect, diagnose, and treat the sickness of a consumer society.