Design By Accident

A counterhistory and new historiography of design. In Design by Accident, Alexandra Midal declares the autonomy of design, in and on its own terms. This meticulously researched work proposes not only a counterhistory but a new historiography of design, shedding light on overlooked historical landmarks and figures while reevaluating the legacies of design's established luminaries from the nineteenth century to the present. Midal rejects both linear narratives of progress and the long-held perception of design as a footnote to the histories of fine art and architecture. By weaving critical analysis of the canon of design history and theory together, with special attention to the writings of designers themselves, she draws out the nuances and radical potentials of the discipline—from William Morris's ambivalence toward industry, to Catharine Beecher's proto-feminist household appliances, to the Bauhaus's Expressionist origins, and the influence of Herbert Marcuse on Joe Colombo.

"This original Dover publication illustrates dozens of accidental effects discovered by a commercial artist in the course of his work. Some are the result of bringing together materials that react with each other, some the result of applying pigment in uncommon ways. The text describes how you can create similar accidental designs yourself with only basic art materials. Nine areas of "accident" are described and illustrated: tree forms created by the movement of pigments or liquids ; crackle patterns resulting from stress in layers of glue, paint, India ink, or graphite ; crawl patterns as coats of paint over irregular or incompatible surfaces unevenly ; random patterns of drips, drops, or dribbles ; splashes and runs created by vigorous impact and gravity ; marble effects created by pulling paper or canvas through paint which is floating on water ; wrinkle lines and folds in a variety of materials ; flower patterns formed when pigments are dropped on non-absorbent surfaces ; and a miscellany--27 plates that shoe patterns emerging from ink flowing along wrinkled paper, scorch marks from a kerosene flame, waves in water-filled baking pan, and similar material. Eight color plates suggest some of the variations possible with colored pigments or crayons, and 55 other figures show natural "accidents" such as dried stream bed, ceramic crackle, beach pebbles, dirty water runs on glass etc."--back cover.

An examination of different theoretical, methodological and practical approaches towards the management of risk. Seven dimensions of the debate are identified, and the case for each position is put forward, the whole discussion being set in context and perspective. This volume attempts to identify and juxtapose the contested doctrines and underlying assumptions in the field of risk management.

In this reflective autobiography, Rosemary Sassoon, a leading expert on handwriting and typography, looks back on her long and varied career, paying special attention to her unorthodox progression through a variety of fields. She details the route that took her from design to the educational and medical aspects of handwriting problems, then on to research and a PhD and finally to working in the area of legibility in type design. In telling the story of an unusual and unusually successful life, Sassoon takes up a number of philosophical questions about what it is that comes together to form our characters, and what role chance and coincidence play in our lives.

Engaging essays that roam across uncertain territory, in search of sunken forests, unclassifiable islands, inflammable skies, plagiarized tabernacles, and other phenomena missing from architectural history. This collection by “architectural history's most beguiling essayist” (as Reinhold Martin calls the author in the book's foreword) illuminates the unfamiliar, the arcane, the obscure—phenomena largely missing from architectural and landscape history. These essays by Edward Eigen do not walk in a straight line, but roam across uncertain territory, discovering sunken forests, unclassifiable islands, inflammable skies, unvisited shores, plagiarized tabernacles. Taken together, these texts offer a group portrait of how certain things fall apart. We read about the statistical investigation of lightning strikes in France by the author-astronomer Camille Flammarion, which leads Eigen to reflect also on Foucault, Hamlet, and the role of the anecdote in architectural history. We learn about, among other things, Olmsted's role in transforming landscape gardening into landscape architecture; the connections among hedging, hedge funds, the High Line, and GPS bandwidth; timber-frame roofs and (spider) web-based learning; the archives of the Houses of Parliament through flood and fire; and what the 1898 disappearance and reappearance of the Trenton, New Jersey architect William W. Slack might tell us about the conflict between “the migratory impulse” and “love of home.” Eigen compares his essays to the “gathering up of seeds that fell by the wayside.” The seedlings that result create in the reader's imagination a dazzling display of the particular, the contingent, the incidental, and the singular, all in search of a narrative.