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Examines the designs of the products, advertisements, and promotional materials of nine companies in the United States, England, Japan, and Korea

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"In February 1956 the president of IBM, Thomas Watson Jr., hired the industrial designer and architect Eliot F. Noyes, charging him with reinventing IBM’s corporate image, from stationery and curtains to products such as typewriters and computers and to laboratory and administration buildings. What followed—a story told in full for the first time in John Harwood’s The Interface—remade IBM in a way that would also transform the relationships between design, computer science, and corporate culture. IBM’s program assembled a cast of leading figures in American design: Noyes, Charles Eames, Paul Rand, George Nelson, and Edgar Kaufmann Jr. The Interface offers a detailed account of the key role these designers played in shaping both the computer and the multinational corporation. Harwood describes a surprising inverse effect: the influence of computer and corporation on the theory and practice of design. Here we see how, in the period stretching from the “invention” of the computer during World War II to the appearance of the personal computer in the mid-1970s, disciplines once well outside the realm of architectural design—information and management theory, cybernetics, ergonomics, computer science—became integral aspects of design.As the first critical history of the industrial design of the computer, of Eliot Noyes’s career, and of some of the most important work of the Office of Charles and Ray Eames, The Interface supplies a crucial chapter in the story of architecture and design in postwar America—and an invaluable perspective on the computer and corporate cultures of today."

"In February 1956 the president of IBM, Thomas Watson Jr., hired the industrial designer and architect Eliot F. Noyes, charging him with reinventing IBM’s corporate image, from stationery and curtains to products such as typewriters and computers and to laboratory and administration buildings. What followed—a story told in full for the first time in John Harwood’s The Interface—remade IBM in a way that would also transform the relationships between design, computer science, and corporate culture. IBM’s program assembled a cast of leading figures in American design: Noyes, Charles Eames, Paul Rand, George Nelson, and Edgar Kaufmann Jr. The Interface offers a detailed account of the key role these designers played in shaping both the computer and the multinational corporation. Harwood describes a surprising inverse effect: the influence of computer and corporation on the theory and practice of design. Here we see how, in the period stretching from the “invention” of the computer during World War II to the appearance of the personal computer in the mid-1970s, disciplines once well outside the realm of architectural design—information and management theory, cybernetics, ergonomics, computer science—became integral aspects of design.As the first critical history of the industrial design of the computer, of Eliot Noyes’s career, and of some of the most important work of the Office of Charles and Ray Eames, The Interface supplies a crucial chapter in the story of architecture and design in postwar America—and an invaluable perspective on the computer and corporate cultures of today."

"In February 1956 the president of IBM, Thomas Watson Jr., hired the industrial designer and architect Eliot F. Noyes, charging him with reinventing IBM’s corporate image, from stationery and curtains to products such as typewriters and computers and to laboratory and administration buildings. What followed—a story told in full for the first time in John Harwood’s The Interface—remade IBM in a way that would also transform the relationships between design, computer science, and corporate culture. IBM’s program assembled a cast of leading figures in American design: Noyes, Charles Eames, Paul Rand, George Nelson, and Edgar Kaufmann Jr. The Interface offers a detailed account of the key role these designers played in shaping both the computer and the multinational corporation. Harwood describes a surprising inverse effect: the influence of computer and corporation on the theory and practice of design. Here we see how, in the period stretching from the “invention” of the computer during World War II to the appearance of the personal computer in the mid-1970s, disciplines once well outside the realm of architectural design—information and management theory, cybernetics, ergonomics, computer science—became integral aspects of design.As the first critical history of the industrial design of the computer, of Eliot Noyes’s career, and of some of the most important work of the Office of Charles and Ray Eames, The Interface supplies a crucial chapter in the story of architecture and design in postwar America—and an invaluable perspective on the computer and corporate cultures of today."

This is an ex-library book and may have the usual library/used-book markings inside.This book has hardback covers. Book contains pencil markings. In fair condition, suitable as a study copy. Dust jacket in good condition. Please note the Image in this listing is a stock photo and may not match the covers of the actual item,1200grams, ISBN:0862941156

Architectural, industrial, and graphic design in the United States from the 1950s through to the 1970s - generally known as Mid-century Modern – is now perceived as a golden era, with artists such as Charles and Ray Eames, Eero Saarinen, and Eliot Noyes having become household names. This volume looks at the relationship between these designers and the companies who employed them, highlighting the political, social and cultural circumstances in which seminal design icons such as the Selectric Typewriter for IBM and the distinctive Westinghouse Electric Manufacturing Company logo were created. It not only reveals why corporations during this post WWII period needed graphic, industrial and architectural designers more than ever before, but also why designers felt ambivalent about their work for these large businesses. In doing so, it sheds new light on the changing self-image of the designer and on these famous midcentury graphic, product, and furniture designs. Full colour throughout, this volume is richly illustrated with fascinating archival photography, concept sketches and beautiful illustrations of the logos, products and buildings designed for the companies. The first three essays set the designers, their work and the corporations within their cultural and political context, while the final essay examines the tremendous contribution made by Stanford University's innovative Product Design programme founded in 1958, which combines engineering, art and creative problem solving.

Architectural, industrial, and graphic design in the United States from the 1950s through to the 1970s - generally known as Mid-century Modern – is now perceived as a golden era, with artists such as Charles and Ray Eames, Eero Saarinen, and Eliot Noyes having become household names. This volume looks at the relationship between these designers and the companies who employed them, highlighting the political, social and cultural circumstances in which seminal design icons such as the Selectric Typewriter for IBM and the distinctive Westinghouse Electric Manufacturing Company logo were created. It not only reveals why corporations during this post WWII period needed graphic, industrial and architectural designers more than ever before, but also why designers felt ambivalent about their work for these large businesses. In doing so, it sheds new light on the changing self-image of the designer and on these famous midcentury graphic, product, and furniture designs. Full colour throughout, this volume is richly illustrated with fascinating archival photography, concept sketches and beautiful illustrations of the logos, products and buildings designed for the companies. The first three essays set the designers, their work and the corporations within their cultural and political context, while the final essay examines the tremendous contribution made by Stanford University's innovative Product Design programme founded in 1958, which combines engineering, art and creative problem solving.

Masters of Design: Corporate Brochures profiles 20 current design leaders. This book features the best corporate designers—those who create award-winning annual reports, internal communications, and corporate brochures. These are often the most challenging projects to design because of the sheer amount of information that is required as part of the assignment. Featured design firms include Cahan & Asssociates, VSA Partners, Blok Design, and 3 Deep Design. The principal creatives at these firms share their insight and experience on creating successful designs for major corporations.

159 S. Gebraucht, aber sehr gut erhalten. - Inhalt: Historical Introduction -- Beginnings -- Inter-War Expansion -- The Origins of Design at Philips -- Depression and War -- Design in the Post-War period -- The Apparatus Design Group -- The Industrial Design Bureau -- Concern Industrial Design Centre -- The Design Track -- A New House Style -- Communication and Updating -- Design Techinique -- Management in CIDC -- Design for a Global Market -- Renewal at the top -- Setting out the stall -- Organisation and Delegation -- Design and Engineering -- Globalization -- House Style -- Improving Standards-Press for the Best -- Developing New Techniques -- Harmonization -- Communications -- Towards Total Quality -- Product Studies -- The Philishave Tracer -- Coffee Makers -- The Product Range -- Matchline -- Motorway Tunnel Control Signalling Systeit -- Philips Electronic Office System -- The Platinum Project -- Professional Video Cameras -- Roller Radio and Moving Sound -- Arena Vision -- Vacuum Cleaners - Conclusion. ISBN 9780847810406 Sprache: Deutsch Gewicht in Gramm: 1050 Gebundene Ausgabe mit Schutzumschlag.

Elevate your style with this Dolly Noire bomber jacket for men. Featuring a classic collar, ribbed cuffs and bottom, central zip closure, and flap with poussoir. This regular fit jacket comes with two side pockets and one internal zip pocket, as well as a fabric patch on the left side and an oversized design on the back. Made from 100% felted wool with synthetic leather sleeves. Hand or machine washable. Stay stylish and comfortable in this versatile jacket.

Elevate your style with this Dolly Noire bomber jacket for men. Featuring a classic collar, ribbed cuffs and bottom, central zip closure, and flap with poussoir. This regular fit jacket comes with two side pockets and one internal zip pocket, as well as a fabric patch on the left side and an oversized design on the back. Made from 100% felted wool with synthetic leather sleeves. Hand or machine washable. Stay stylish and comfortable in this versatile jacket.

Branding is not just an Internet buzz word; it is a high-concept, across-all-boards marketing strategy that can benefit any organization, on line or off. What does it take to create powerful and lasting brand-awareness in the broad marketplace and on the World Wide Web where consumer attention spans are fleeting, at best? This guide explores the designs and guiding principles behind the efforts of some key players in the world of branding. It investigates the psychology and practical implementation of various aspects of branding strategies, such as design, copy, and response measurement. It also explores the inventive advertising approaches some companies use to strengthen brand recognition on line (banner ads, e-mail campaigns, website construction, and much more) and showcases a remarkable collection of some of the most successful branding implementations.Filled with full-color illustrations, case studies, insider secrets, and remarkable insights, this

Elevate your style with this Dolly Noire bomber jacket for men. Featuring a classic collar, ribbed cuffs and bottom, central zip closure, and flap with poussoir. This regular fit jacket comes with two side pockets and one internal zip pocket, as well as a fabric patch on the left side and an oversized design on the back. Made from 100% felted wool with synthetic leather sleeves. Hand or machine washable. Stay stylish and comfortable in this versatile jacket.

Elevate your style with this Dolly Noire bomber jacket for men. Featuring a classic collar, ribbed cuffs and bottom, central zip closure, and flap with poussoir. This regular fit jacket comes with two side pockets and one internal zip pocket, as well as a fabric patch on the left side and an oversized design on the back. Made from 100% felted wool with synthetic leather sleeves. Hand or machine washable. Stay stylish and comfortable in this versatile jacket.

The design studio of J. R. Geigy AG was the launching pad for one of the great periods of Swiss graphic design, in the 1950s and 1960s. The open-minded corporate culture of the chemical company in Basel combined product and company advertising in an exemplary way. The resulting works reveal a modernist formal idiom without being indebted to a specific, formulaic look. There was room in it for visual symbolism as well as the acquisition of nonrepresentational art, with which some of the graphic designers involved were connected. Under the leadership of Max Schmid for many years, the studio employed Roland Aeschlimann, Karl Gerstner, Jörg Hamburger, Steff Geissbühler, Andreas His, Toshihiro Katayama, and Nelly Rudin, among others. Freelance designers such as Michael Engelmann, Gottfried Honegger, Armin Hofmann, Herbert Leupin, Warja Lavater, Numa Rick, and Niklaus Stoecklin were also used. In the 1960s, the Basel office, most especially George Giusti and Fred Troller, was involved in developing the studios of the subsidiaries in the United States and the United Kingdom, placing more emphasis on advertising. This is the first comprehensive presentation of Geigy design, an important Swiss contribution to the international history of design, in all its determination and independence.

The design studio of J. R. Geigy AG was the launching pad for one of the great periods of Swiss graphic design, in the 1950s and 1960s. The open-minded corporate culture of the chemical company in Basel combined product and company advertising in an exemplary way. The resulting works reveal a modernist formal idiom without being indebted to a specific, formulaic look. There was room in it for visual symbolism as well as the acquisition of nonrepresentational art, with which some of the graphic designers involved were connected. Under the leadership of Max Schmid for many years, the studio employed Roland Aeschlimann, Karl Gerstner, Jörg Hamburger, Steff Geissbühler, Andreas His, Toshihiro Katayama, and Nelly Rudin, among others. Freelance designers such as Michael Engelmann, Gottfried Honegger, Armin Hofmann, Herbert Leupin, Warja Lavater, Numa Rick, and Niklaus Stoecklin were also used. In the 1960s, the Basel office, most especially George Giusti and Fred Troller, was involved in developing the studios of the subsidiaries in the United States and the United Kingdom, placing more emphasis on advertising. This is the first comprehensive presentation of Geigy design, an important Swiss contribution to the international history of design, in all its determination and independence.

Written by a leading authority in the fields of marketing and design, here is first book ever to bring together the theory and practice of design management. In eleven comprehensive chapters, Design Management offers time-tested tools for choosing the right design agency . . . integrating design in the organization . . . creating value and contributing to company performance . . . contributing to brand value and corporate vision . . . and implementing design projects. What’s more, dozens of case studies, real-life examples, and leadership profiles illustrate essential theories from design, management, and marketing. An indispensable reference for every design and marketing professional. Copublished with the prestigious Design Management Institute in Boston Features case studies from leaders in design and marketing managementAllworth Press, an imprint of Skyhorse Publishing, publishes a broad range of books on the visual and performing arts, with emphasis on the business of art. Our titles cover subjects such as graphic design, theater, branding, fine art, photography, interior design, writing, acting, film, how to start careers, business and legal forms, business practices, and more. While we don't aspire to publish a New York Times bestseller or a national bestseller, we are deeply committed to quality books that help creative professionals succeed and thrive. We often publish in areas overlooked by other publishers and welcome the author whose expertise can help our audience of readers.

Are companies, churches, and states genuine agents? Or are they just collections of individual agents that give a misleading impression of unity? This question is important, since the answer dictates how we should go about explaining the behaviour of these entities and whether we should treat them as responsible and accountable in the manner of individuals. Group Agency offers a new approach to that question and is relevant, therefore, in a range of fields from philosophy to law, politics, and the social sciences. Christian List and Philip Pettit take the line that there really are group or corporate agents, over and above the individual agents who compose them, and that a proper social science and a proper approach to law, morality, and politics have to take account of this fact. Unlike some earlier defences of group agency, their account is entirely unmysterious in character and, despite not being technically difficult, is grounded in cutting-edge work in social choice theory, economics, and philosophy.