《50辆改变世界的汽车》讲述了：在过去的一个世纪里，汽车曾经是推动社会变化的强大动力，它所产生的影响完全可以与飞机和芯片相提并论。伦敦设计博物馆为我们甄选了汽车设计史上最顶尖的50个案例，从1908年福特T型车到1998年“精灵”车。从最早的雏形开始，汽车就显示出在形和意上的多重诉求：它具有雕塑般的形体，是先锋工业体制的产物，又是工程学上的杰作。同时，汽车正在拯救着无尽蔓延的城市。 《50辆改变世界的汽车》适用于：世界首家设计博物馆——伦敦设计博物馆甄选的经典设计，将成为关注设计，讲究生活品质的成功人士必备的典藏经典设计的指南性丛书。

兼具新奇、時尚、趣味、實用的日本文具設計，豈能用一個「妙」字來形容！ 本書收錄了日本最新的文具製作科技，與傳統職人完美的精工技藝，徹底呈現日本在文具設計上的美學思維與設計巧思。完整呈現了包括：TOMBOW蜻蜓牌自動鉛筆、PILOT原子筆、OLFA美工刀、Campus筆記本…等，16家備受世人矚目、超人氣、永不退流行的精工文具品牌，並詳述其設計理念、創作技巧與創作故事。 從這些文具職人的設計觀、美學觀與專注力上，我們可以看出日本人在小小的文具工藝上，追求卓越與品質的精神，以及對美感與傳統工藝的頑強堅持。文具不像房子、車子那般所費不貲又體積龐大，但這些看似微不足道、各式各樣的文具，卻深入我們的日常生活當中，並且提供了我們各種生活上的便利性，豐富了我們的生活與視覺感官享受。 這些日本的文具製造商，透過堅定的信念及對品質的高度要求，融合了固有的服務精神，並承襲日本古往今來的歷史脈絡，創造出這些琳瑯滿目的生活良伴。也由於這些人的智慧結晶，讓你我得以擁有「快意的生活」、享受「使用上的便利性」，並深刻體認到「有你真好的貼心感動」。 讓我們透過這本書，重新檢視這些或許早已被人遺忘的「日本文具精品」。或許，透過這次機會，你我將重新發現看似平凡的文具背後，其實有著許多不平凡的故事，同時，也讓世人重新省思，現代人所享有的諸多生活便利，是由許多工藝達人日積月累的心血結晶所造就。 本書從為數眾多的日本文具品牌所創造出來的，多如繁星、不分年代的商品裡，以受關注度、貢獻度、風靡程度，經心挑選了16家品牌及其代表作品，並親自拜訪這些創造出風靡日本、超人氣「定番」商品（不退流行的必備品）背後的多位推手。透過他們親自的訴說，你將會瞭解更多有關文具世界中，技術面和歷史面的故事，也會見識到「職人」神乎其技的高超技巧，以及開發者天外飛來一筆、靈光乍現的絕妙創意。你將會清楚地體會到，我們有幸得以親自接觸或使用這些文具的深深喜悅。

“表现的东西” 与 “被表现的东西“ 之间有着一条鸿沟。而这也正是表现的趣味所在。回顾设计的漫漫长路，通过对自我的剖析，我发现了许多值得思考的东西。对这些发现进行整理之后，我一直思考的就是“行动背后蕴藏思想”这一道理的意义。当然，“基于思想付诸行动” 也是事实，但追其根源，思想的本质仍然是“通过行动而发现的”。而《设计修辞法》和《设计曼荼罗》正是由设计这一行动而来。－ 黑川雅之

Never Leave Well Enough Alone was first published in 1951 at the height of Loewy's career. His company, Raymond Loewy Associates, served as design consultants to more than a hundred of the world's largest corporations, and products manufactured to their specifications sold in excess of $3 billion annually. Written and designed by Loewy, this profusely illustrated book is part autobiography and part design manifesto. Acclaimed for its wit, its idiosyncracies, and its insight into the Loewy aesthetic, this volume stands as a remarkable document of the American Century and a still-vital meditation upon the importance of industrial design in daily life. "A fascinating insight into the birth and growth of the largest consumer society the world has ever seen -- and a handbook for how to make technology desirable." -- New Scientist "An autobiography by one of the leading industrial designers in this country... Mr. Loewy tells of his youth in France, his coming to America after the first war, his initial success as a fashion artist, and the dawn of industrial design and his part in it... The book is instructive, brash, cocksure, occasionally funny, sometimes vulgar, and always honest." -- New Yorker, reviewing a previous edition or volume "Whilst displaying an uncommon amount of literary dexterity, modesty, and generosity, Loewy manages to describe the development of his career, his achievements, and the methods and organization of his business... It is the funniest and most lucid success story that the industrial design field has yet produced." -- Interiors, reviewing a previous edition or volume "The details in this book are amazing... This book serves well to teach how the designs of everyday objects can have an effect on their usefulness, attrativeness, and even potential sales for businesses." -- Paul Regna, Avanti Magazine, reviewing a previous edition or volume "A great resource for the auto buff as well as aficionados of industrial design." -- Cruise-In.com Raymond Loewy (1893--1986) was born in France and came to America in 1919. After dressing department store windows and illustrating fashion magazines, he established his own design firm in 1930 and worked as an industrial designer into his eighties. Glenn Porter is director of the Hagley Museum and Library in Wilmington, Delaware, and author of The Rise of Big Business, 1860-1920. http://jhupbooks.press.jhu.edu/ecom/MasterServlet/GetItemDetailsHandler?iN=9780801872112&qty=1&viewMode=3&loggedIN=false&JavaScript=y

The designers Jasper Morrison and Naoto Fukasawa have compiled 204 everyday objects in search of "super normal design": alongside examples of anonymous design like the Swiss Rex vegetable peeler or a simple plastic bag, there are design classics like Marcel Breuer’s tubular steel side table, Dieter Ram’s 606 shelving system, or Joe Colombo’s Optic alarm clock of 1970. With products by Newson, Grcic, the Azumis, and the Bouroullec brothers, it also represents the generation to which Morrison and Fukasawa belong. The phenomenon of the super normal is located, as it were, beyond space and time; the past and present of product design both point to a future that has long since begun. The super normal is already lying exposed before us; it exists in the here and now; it is real and available: we need only open our eyes; Fukasawa and Morrison make it visible for us.

《象外集：语录·访谈·文论·众说》，本书内容: 柳冠中先生是中国工业设计发展史中里程碑式的人物。他以其自身的思想、言论、实践、行动，以及对于学生、政府、企业、大众的持续影响，注释着他的生命价值，推动了近三十年来中国工业设计产业的发展与繁荣。“超以象外，得其圜中”是柳冠中先生多年来一直坚持追求和贯彻的思想，也是《象外集——语录、访谈、文论、众说》一书贯穿始末的文脉。柳先生的学术生涯同步于改革开放与中国设计发展的三十年，因此，柳老师在这些年所讨论的问题，所做的研究，所阐述的思想，所给予的启示，无不带有此文脉特征。 本书由“语录”、“访谈”