Deadly Design

The emotional power of If I Stay meets the survival story of Maze Runner Genetically engineered identical twins Kyle and Connor McAdams were born two years apart. Their parents figured it was safer that way, to increase their odds of survival. Connor was born first, paving an impossibly perfect path for Kyle to follow. He was the best at everything—valedictorian, star quarterback etc. Kyle never thought he’d be able to live up, so he didn’t even try. But when Connor, 18, suddenly drops dead of a heart attack, and Kyle learns of other genetically modified kids who’ve also died on their eighteenth birthdays, he’s suddenly motivated—to save his own life. Like Connor and all the rest, Kyle was conceived at the Genesis Innovations Laboratory, where the mysterious Dr. Mueller conducted experiments on them. The clock’s ticking as Kyle searches for answers: who was Dr. Mueller really, and what did he do to cause their hearts to stop at eighteen? He must unravel the clues quickly, before, he too, becomes another perfect, blue-eyed corpse.

Warning - this book ends with a cliffhanger ending! Book 3 (Darkesty Designs) picks ups where this one ends off. Drawing is her world...but when she's banished to a deadly new world and needs help, it's his world too. Her... Storey Dalton wants to go home - but something goes terrifyingly wrong and she ends up in her worst nightmare. There's no escape...not without Eric or her stylus. Then she finds someone who needs rescuing even more than she does... Him... Eric Jordan races to save Storey, only to realize a close family member has betrayed them both. Now the enemy is closing in on him. When he meets up with Storey, he knows her plans are a bad idea, but she won't be dissuaded...and it could be their only way of staying alive. It... The stylus, now bonded to Storey's artistic soul, is determined to survive this new chaos - against all odds. But damaged from a prolonged separation, he can't help Story or Eric - without making things worse. Them... Storey is determined to make things right. Eric is determined to help her. Neither counts the personal cost, until their very lives are in danger. Young adult; mystery; Alternate dimension; magic; clean romance; urban fantasy; Action & adventure; Fantasy

Craig Martin addresses the transgressive or deviant aspects of design: design that straddles the divide between the licit and illicit, the legal and illegal, in a variety of ways. Martin argues that design is not necessarily for the social good, but that it is immersed in the social realm in all its contradictions and confusions. Through a series of case studies he explores a wide range of social practices that employ illicit forms of design thinking, including: early computer hacking and present-day hacker culture in which everyday objects are repurposed and deliberately misused; the cultures of reproduction, counterfeit and pirated versions of classic and luxury designs; and the use of material practices by smugglers to conceal drugs within consumer goods and luggage. Deviant Design contends that these amateur and illicit practices challenge the normative idea of the professional designer or maker. Rather than being reliant on the services of institutionalized design professionals, the adhocist practitioner displays forms of innovative design knowledge in understanding how artefacts have an inherent potential to be misused or repurposed.

The unique position of design in the political context of postwar Belgium In the postwar era, design became important as a marker of modernity and progress at world fairs and international exhibitions and in the global markets. The Belgian state took a special interest in this vanguard phenomenon of ‘industrial design’ as a vital political and economic strategic tool in the context of the Cold War and the creation of the European community. This book describes the unique position that design occupied in the political context of postwar Belgium as it analyses the public promotion of design between 1950 and 1986. It traces this process, from the first government-backed manifestations and institutions in the 1950s through the 1960s and 1970s, until design lost its privileged position as a state-backed institution, a process which culminated in the closure of the Brussels Design Centre in 1986, in the midst of the Belgian federalisation process. A key figure in this history is the policymaker Josine des Cressonnières, who played a leading role in the national and international design community and succeeded in connecting very different political worlds through the medium of design.

How ecological design emerged in Scandinavia during the 1960s and 1970s, building on both Scandinavia’s design culture and its environmental movement. Scandinavia is famous for its design culture, and for its pioneering efforts toward a sustainable future. In Ecological by Design, Kjetil Fallan shows how these two forces came together in the late 1960s and early 1970s, when Scandinavian designers began to question the endless cycle in which designed objects are produced, consumed, discarded, and replaced in quick succession. The emergence of ecological design in Scandinavia at the height of the popular environmental movement, Fallan suggests, illuminates a little-known reciprocity between environmentalism and design: not only did design play a role in the rise of modern environmentalism, but ecological thinking influenced the transformation in design culture in Scandinavia and beyond that began as the modernist faith in progress and prosperity waned. Fallan describes the efforts of Scandinavian designers to forge an environmental ethics in a commercial design culture sustained by consumption; shows, by recounting a quest for sustainability through Norwegian wood(s), that one of the main characteristics of ecological design is attention to both the local and the global; and explores the emergence of a respectful and sustainable paradigm for international development. Case studies trace key connections to continental Europe, Britain, the US, Central America, and East Africa. Today, ideas of sustainability permeate design discourse, but the historical emergence of ecological design remains largely undiscussed. With this trailblazing book, Fallan fills that gap.

Design, Displacement, Migration: Spatial and Material Histories gathers a collection of scholarly and creative voices—spanning design, art, and architectural history; design studies; curation; poetry; activism; and social sciences––to interrogate the intersections of design and displacement. The contributors foreground objects, spaces, visual, and material practices and consider design’s role in the empire, the state, and various colonizing regimes in controlling the mass movement of people, things, and ideas across borders, as well as in social acts that resist forced mobility and immobility, or enact new possibilities. By consciously surfacing echoes, rhymes, and dissonances among varied histories, this volume highlights local specificity while also accounting for the vectors of displacement and design across borders and histories. Design, Displacement, Migration: Spatial and Material Histories shows displacement to be a lens for understanding space and materiality and vice versa, particularly within the context of modernity and colonialism. This book will be of interest to scholars working in design history, design studies, architectural history, art history, urban studies, and migration studies.