Here are 21 books that In Good Shape fans have personally recommended if you like
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I’m an author and former journalist with a fascination with design and consumer culture. I’ve been writing about design and pop culture since completing an assignment on Jack Telnack’s Ford Taurus and Thunderbird designs for a national news magazine. My interest deepened when I moved to daily journalism and wrote about Raymond Loewy’s design for the S-1 Pennsylvania Railroad locomotive. When the newspaper industry began cratering in a blizzard of mergers, buyouts, and bad management, I spent 25 years working in media relations at Penn State and Juniata College. I looked for an involving side project as a respite from writing professorial profiles and found safe haven with the life and legacy of Raymond Loewy.
Populuxe was the first book I read that connected art, consumerism, and industrial design in clear, pointed, and witty language. Hine, an author as well as a critic for the Philadelphia Inquirer, covers what he calls “America’s spending spree” decade (1954-1964), by showing the connections revealed by shoppers’ choice of cars, homes, furniture, and appliances. Populuxe resonated for me because Hine wielded the tools of the critic and the historian and explained the art and design influences to be found in dishwashers, tailfins, and Naughyde. My curiosity about why people buy certain products was piqued by Hine’s analysis and showed readers that not all essays on art and design need to drip with impenetrable prose or obtuse insights.
The decade from 1954 to 1964 was one of America's great shopping sprees. Never before were there so many people able to acquire so many things, and never before was there such a choice. Thomas Hine calls it Populuxe--populism and popularity and luxury, plus a totally unnecessary "e" to give it a little class; the word itself is as synthetic as the world it denotes. With the help of more than 250 amazing and amusing pictures in black and white and color (and what colors!), Thomas Hine explores, recaptures and explains this glorious, vanished world of hopes and dreams and…
I’m an author and former journalist with a fascination with design and consumer culture. I’ve been writing about design and pop culture since completing an assignment on Jack Telnack’s Ford Taurus and Thunderbird designs for a national news magazine. My interest deepened when I moved to daily journalism and wrote about Raymond Loewy’s design for the S-1 Pennsylvania Railroad locomotive. When the newspaper industry began cratering in a blizzard of mergers, buyouts, and bad management, I spent 25 years working in media relations at Penn State and Juniata College. I looked for an involving side project as a respite from writing professorial profiles and found safe haven with the life and legacy of Raymond Loewy.
Randall Rothenberg, an advertising industry reporter for The New York Times, applied the Tracy Kidder Method of journalistic immersion in a process or profession to a single advertising campaign from start to finish. He chose wisely, focusing on the then up-and-coming Weiden + Kennedy—an ad agency riding the success of Nike’s “Bo Knows” commercials. His choice of product? Subaru of America, which, at the time, was the cellar-dweller of Japanese imports. Rothenberg effortlessly captures the high-stakes tension of the ad industry while not neglecting aspects of the industry that are more smoke and mirrors than research-grounded truths.
Rothenberg is exceptional at providing windows into advertising history as his story unfolds. Throughout the span of the campaign, he unsparingly documents inspiration, idiocy (W+K assigns a creative director who hates cars), and an intimate look at how advertising works.
"For all the right reasons." "Cars that can." "What to Drive." "The perfect Car for an Imperfect World." Only one of these slogans would be chosen by Subaru of America to sell its cars in the recession year of 1991.
As six advertising agencies scrambled for the account and the winner tried to churn out the Big Idea that would install Subaru in the collective national unconscious, Randall Rothenberg was there, observing every nuance of the chaos, comedy, creativity, and egotism that made up an ad campaign.
One can read Rothenberg's book as the behind-the-scenes chronicle of the brief and…
I’m an author and former journalist with a fascination with design and consumer culture. I’ve been writing about design and pop culture since completing an assignment on Jack Telnack’s Ford Taurus and Thunderbird designs for a national news magazine. My interest deepened when I moved to daily journalism and wrote about Raymond Loewy’s design for the S-1 Pennsylvania Railroad locomotive. When the newspaper industry began cratering in a blizzard of mergers, buyouts, and bad management, I spent 25 years working in media relations at Penn State and Juniata College. I looked for an involving side project as a respite from writing professorial profiles and found safe haven with the life and legacy of Raymond Loewy.
Examining automobiles people buy offers, if not a window into their soul, then a peek into their personal values. Ingrassia, a Wall Street Journal automotive reporter, guides us down a freeway of history and consumerism that “begat the middle class, the suburbs, shopping malls, McDonald's, Taco Bell, drive-through banking and other things.” He traces our romance with tires, horsepower, and wood-trimmed interiors through 15 models ranging from the Model T to the Prius. As stories of the Corvette, Jeep, GTO, VW Beetle and VWMicrobus, the unfairly maligned Chevy Corvair, and others roll by, Ingrassia integrates how each successive model forever changed customer desires and the often-cramped minds of auto executives. His cruise-control writing style rewards us with a smooth journey among the cars of our dreams.
From Pulitzer Prize-winning journalist Paul Ingrassia comes a narrative of America like no other: a cultural history that explores how cars have both propelled and reflected the national experience—from the Model T to the Prius.
A narrative like no other: a cultural history that explores how cars have both propelled and reflected the American experience— from the Model T to the Prius.
From the assembly lines of Henry Ford to the open roads of Route 66, from the lore of Jack Kerouac to the sex appeal of the Hot Rod, America’s history is a vehicular history—an idea brought brilliantly to…
I’m an author and former journalist with a fascination with design and consumer culture. I’ve been writing about design and pop culture since completing an assignment on Jack Telnack’s Ford Taurus and Thunderbird designs for a national news magazine. My interest deepened when I moved to daily journalism and wrote about Raymond Loewy’s design for the S-1 Pennsylvania Railroad locomotive. When the newspaper industry began cratering in a blizzard of mergers, buyouts, and bad management, I spent 25 years working in media relations at Penn State and Juniata College. I looked for an involving side project as a respite from writing professorial profiles and found safe haven with the life and legacy of Raymond Loewy.
Halberstam, known for big, thick books centered around big American themes, treads the same ground as Thomas Hine’s Populuxe. Instead of concentrating on refrigerators and roadsters, Halberstam tackles the political, social, economic, and cultural change in America during the 1950s—essentially, he examined the rivets in the launching pad for the American Century. Halberstam’s great gift of teasing out stories of long-overlooked contributors is put to effortless use here as we meet Kemmons Wilson, founder of the Holiday Inn hotels, the McDonald brothers, auto designer Harley Earl, ad man Rosser Reeves and Goody Pincus, developer of the birth control pill. Other, more famous connectors are duly noted—Elvis, McCarthy, MacArthur, Ozzie Nelson, Uncle Miltie—but in the end, Halberstam’s book is an inspiration (and a template) for writers of cultural history.
The Fifties is a sweeping social, political, economic, and cultural history of the ten years that Halberstam regards as seminal in determining what our nation is today. Halberstam offers portraits of not only the titans of the age: Eisenhower Dulles, Oppenheimer, MacArthur, Hoover, and Nixon, but also of Harley Earl, who put fins on cars; Dick and Mac McDonald and Ray Kroc, who mass-produced the American hamburger; Kemmons Wilson, who placed his Holiday Inns along the nation's roadsides; U-2 pilot Gary Francis Powers; Grace Metalious, who wrote Peyton Place; and "Goody" Pincus, who led the team that invented the Pill.…
I've always had a creative curiosity that involves making, designing, and finding creative solutions to problems, this led me to using digital tools and lecturing in interactive media. As technology, society, and design have developed so to has my knowledge and experience in these fields enabling me to understand and develop the unique skills that are required to create successful solutions in the digital design process. I do this through creating and designing interventions in the physical space to ask questions and raise awareness of our use of technology and the impact on our awareness of time and space and the world around us.
In this book Don Norman, through human centered design, unpacks and helps us understand the value and impact that the objects around us can have.
He helps the reader see these objects from a fresh perspective. Through looking at the different ‘levels of design’—visceral, behavioural, and reflective—and the importance of emotional machines, he explores the shared role that technology, design, and people play in manipulating their environment.
Did you ever wonder why cheap wine tastes better in fancy glasses? Why sales of Macintosh computers soared when Apple introduced the colourful iMac? New research on emotion and cognition has shown that attractive things really do work better, as Donald Norman amply demonstrates in this fascinating book, which has garnered acclaim everywhere from Scientific American to The New Yorker . Emotional Design articulates the profound influence of the feelings that objects evoke, from our willingness to spend thousands of dollars on Gucci bags and Rolex watches, to the impact of emotion on the everyday objects of tomorrow.Norman draws on…
Since I came to architecture through classical archeology, writing about design was kind of like coming home. I made the switch to journalism after moving to Tokyo. At that time, Japan’s economy was going strong, boom cranes were everywhere, and the worldwide appetite for information about new construction was robust. An outgrowth of my success documenting architecture, my interest in design was sparked partly by the chairs and teapots created by Japanese architects but also by the superb array of daily-use goods available in Japan. The dearth of information about these items and their designers led me to cover design at various scales.
Several years ago, when I was living in Tokyo, I needed a blender.
So, I went to MUJI and bought the one they had on offer. It was smaller than a US model, but the components fit together so easily, and the blades did their job so efficiently. I had to marvel. Unsurprisingly, the appliance I purchased was the product of Naoto Fukasawa who has a gift for making ordinary, everyday goods better. They practically intuit the user’s movement. Like my blender, these are things one buys to fulfill a basic need. But then cannot imagine living without them.
Filled with first-person explanations, this book is a window into the mind of one of Japan’s most accomplished designers.
A brand new monograph on one of Japan's best-known product designers, featuring more than 100 of his latest works
Naoto Fukasawa's simple, restrained, and user-friendly products have an extraordinarily universal appeal. Featuring more than 100 of his latest designs, including furniture, phones, watches, fashion, luggage, and accessories, Naoto Fukasawa: Embodiment perfectly captures Fukasawa's perspective on the dynamic interplay between people, places, and things.
It places the designer's products into the context of the contemporary design world and offers a first-hand account of Fukasawa's design philosophy.
Art, technology, and science…I have been seamlessly traversing domains all my life. I grew up with twin interests in physical sciences and visual arts, finding beauty in math and art and seeing creativity as being one thing rather than something living in compartments. Art influenced my research in chaos and complexity, and blurring boundaries characterized my work as dean of engineering when creating educational/research initiatives in design, art, entrepreneurship, energy, and sustainability. I also received visible external recognition as a Guggenheim Fellow and member of both the National Academy of Engineering and the National Academy of Sciences, as well as the American Academy of Arts and Sciences.
This book will inspire you, make you see possibilities, and widen your thinking.
The back cover’s proclamation, “It is not about the world of design, it is about the design of world”, says it all. The design of this book itself opened new frontiers; text and images interspersed as they had never been seen before, intertwining technologies, inventions, and pivotal events that are affecting humanity worldwide.
Massive Change is a modern, illustrated primer on the new inventions, technologies, and events that are affecting the human race worldwide. This book is part of a broader research project by Bruce Mau Design, intended to provoke debate and discussion about the future of design culture - defined generally as the 'familiar objects and techniques that are transforming our lives'.
Through an original selection of essays, interviews and provocative imagery aimed at a broad audience, Massive Change explores the changing forces of design in the contemporary world and, from this angle, expands the definition of design to include the built…
I would like to consider myself an experienced and successful designer, researcher, and educator. I'm an Associate Professor in Communication Design and the Head of Education for the School of Design at Northumbria University in the United Kingdom, where I've taught and researched for the last twenty years so I'm super passionate about this subject and love explaining how design works. Before joining academia, I worked internationally as a designer and creative director for numerous prestigious design and media organizations, including Philips, Time-Warner, Windmill Lane Pictures, and WPP in the UK, Ireland, USA, and Southeast Asia. Working in these different businesses and locations gave me a broad perspective on the role and importance of design.
This essential book by Don Norman does not need any more plugging, but it would be impossible to leave it out.
The book forms a brilliant introduction to User Experience Design by explaining how the design of everyday objects relies on an intuitive understanding of how they work. Once we translate this thinking from the physical to the digital world, we are halfway there as UX/UI designers.
Even the smartest among us can feel inept as we fail to figure out which light switch or oven burner to turn on, or whether to push, pull, or slide a door. The fault, argues this ingenious,even liberating,book, lies not in ourselves, but in product design that ignores the needs of users and the principles of cognitive psychology. The problems range from ambiguous and hidden controls to arbitrary relationships between controls and functions, coupled with a lack of feedback or other assistance and unreasonable demands on memorization. The Design of Everyday Things shows that good, usable design is possible. The…
I ‘pick the brains’ of expert software developers to understand what makes them expert. I’ve spent decades studying how professional software developers reason and communicate about design and problem solving. Informed by the seminal books I’ve highlighted (among many others), my research is grounded in empirical studies of professionals in industry and draws on cognitive and social theory. Observing, talking to, and working with hundreds of professional software developers in organisations ranging from start-ups to the world’s major software companies has exposed actionable insights into the thinking that distinguishes high-performing teams.
This book is a delightful example of what happens when someone engages eyes and mind: it provides important insights into the cussedness of things people design, by looking thoughtfully at simple, ‘everyday things’.
In doing so, Norman both illustrates the constructive application of cognitive science in understanding design, and provides a compelling argument for user-centred design.
Even the smartest among us can feel inept as we fail to figure our which light switch or oven burner to turn on, or whether to push, pull, or slide a door. The fault, argues this fascinating, ingenious,even liberating,book, lies not in ourselves, but in product design that ignores the needs of users and the principles of cognitive psychology.The problems range from ambiguous and hidden controls to arbitrary relationships between controls and functions, coupled with a lack of feedback or other assistance and unreasonable demands on memorization. The book presents examples aplenty,among them, the VCR, computer, and office telephone, all…
Since I came to architecture through classical archeology, writing about design was kind of like coming home. I made the switch to journalism after moving to Tokyo. At that time, Japan’s economy was going strong, boom cranes were everywhere, and the worldwide appetite for information about new construction was robust. An outgrowth of my success documenting architecture, my interest in design was sparked partly by the chairs and teapots created by Japanese architects but also by the superb array of daily-use goods available in Japan. The dearth of information about these items and their designers led me to cover design at various scales.
I first encountered this book many years before I began my own.
It accompanied a marvelous exhibit launched by the Philadelphia Museum of Art which, sadly, I did not see in person. Arranged by decade, the body of the book features individual products from the 1950s to the 1990s.
This reveals the overlap between different design disciplines and the cross-fertilization of ideas. I love the large photos which pull you in and make you want to read the texts. The supporting essays were contributed by many of the most important design luminaries at work in Japan.
By the time I was working on my book, many of them were already gone.
