Louise Brigham And The Early History Of Sustainable Furniture Design

During the Progressive Era, a time when the field of design was dominated almost entirely by men, a largely forgotten activist and teacher named Louise Brigham became a pioneer of sustainable furniture design. With her ingenious system for building inexpensive but sturdy “box furniture” out of recycled materials, she aimed to bring good design to the urban working class. As Antoinette LaFarge shows, Brigham forged a singular career for herself that embraced working in the American and European settlement movements, publishing a book of box furniture designs, running carpentry workshops in New York, and founding a company that offered some of the earliest ready-to-assemble furniture in the United States. Her work was a resounding critique of capitalism’s waste and an assertion of new values in design—values that stand at the heart of today’s open and green design movements.

Joinery, Joists and Gender: A History of Woodworking for the 21st Century is the first publication of its kind to survey the long and rich histories of women and gender non-conforming persons who work in wood. Written for craft practitioners, design students, and readers interested in the intersections of gender and labor history—with 200 full-color images, both historical and contemporary—this book provides an accessible and insightful entry into the histories, practices, and lived experiences of women and nonbinary makers in woodworking. In the first half the author presents a woodworking history primarily in Europe and the United States that highlights the practical and philosophical issues that have marked women’s participation in the field. Research focuses on a diverse range of practitioners from Lady Yun to Adina White. This is followed by sixteen in-depth profiles of contemporary woodworkers, all of whom identify fine woodworking as their principal vocation. Through studio visits, interviews, and photographs of space and process, the book uncovers the varied practices and contributions these diverse artisans make to the understanding of wood as a medium to engage spatial, material, aesthetic, and even existential challenges. Beautifully illustrated profiles include Wendy Maruyama, one of the first women to earn an MFA in woodworking in the US; Sarah Marriage, founder of Baltimore’s A Workshop of Our Own, a woodshop and educational space specifically for women and gender non-conforming makers; Yuri Kobayashi, whose sublime work blurs boundaries between the worlds of art and craft, sculpture, and furniture; and Folayemi Wilson, whose work draws equally on African American history and Afrofuturism to explore and illuminate the ways that furniture and wood traditions shape social relations.

Design with Life chronicles the breakthroughs and projects of a nonprofit that is defining resolute new directions in socio-ecological design and other deep-seated intersections of synthetic biology, architecture, and urban systems. In the challenging context of accelerating climate dynamics, the core discipline of architectural design is evolving and embracing new forms of action. New York-based nonprofit Terreform ONE has established a distinctive design tactic that investigates projects through the regenerative use of natural materials, science, and the emergent field of socio-ecological design. This kind of design approach uses actual living matter (not abstracted imitations of nature) to create new functional elements and spaces. These future-based actions are not only grounded in social justice, but are also far-reaching in their application of digital manufacturing and maker culture. Terreform ONE tackles urgent environmental and urban social concerns through the integrated use of living materials and organisms.

At last, there's an authoritative guide to help interior designers apply green- building and sustainability applications to their environments. Sustainable Interior Design expertly introduces the principles of environmentally responsible design for interior environments. This useful reference provides beginning designers and experienced professionals alike with a comprehensive survey that coverers everything from theoretical approaches to current practices. It helps designers understand the environmentally responsible approach and make design decisions that are ethical and do not harm the world?s environment.

An illustrated survey of artist hoaxes, including impersonations, fabula, cryptoscience, and forgeries, researched and written by an expert "fictive-art" practitioner. The shift from the early information age to our 'infocalypse' era of rampant misinformation has given rise to an art form that probes this confusion, foregrounding wild creativity as a way to reframe assumptions about both fiction and art in contemporary culture. At its center, this "fictive art" (LaFarge's term) is secured as fact by employing the language and display methods of history and science. Using typically evidentiary objects such as documentary photographs and videos, presumptively historical artifacts and relics, didactics, lectures, events, and expert opinions in technical language, artists create a constellation of manufactured evidence attesting to the artwork's central narrative. This dissimulation is temporary, with a clear "tell" often surprisingly revealed in a self-outing moment. With all its attendant consequences of mistrust, outrage, and rejection, this genre of art with a sting in its tale is a radical form whose time has come.

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Scores of talented and dedicated people serve the forensic science community, performing vitally important work. However, they are often constrained by lack of adequate resources, sound policies, and national support. It is clear that change and advancements, both systematic and scientific, are needed in a number of forensic science disciplines to ensure the reliability of work, establish enforceable standards, and promote best practices with consistent application. Strengthening Forensic Science in the United States: A Path Forward provides a detailed plan for addressing these needs and suggests the creation of a new government entity, the National Institute of Forensic Science, to establish and enforce standards within the forensic science community. The benefits of improving and regulating the forensic science disciplines are clear: assisting law enforcement officials, enhancing homeland security, and reducing the risk of wrongful conviction and exoneration. Strengthening Forensic Science in the United States gives a full account of what is needed to advance the forensic science disciplines, including upgrading of systems and organizational structures, better training, widespread adoption of uniform and enforceable best practices, and mandatory certification and accreditation programs. While this book provides an essential call-to-action for congress and policy makers, it also serves as a vital tool for law enforcement agencies, criminal prosecutors and attorneys, and forensic science educators.

First person accounts by pioneers in the field, classic essays, and new scholarship document the collaborative and creative practices of early social media. Focusing on early social media in the arts and humanities and on the core role of creative computer scientists, artists, and scholars in shaping the pre-Web social media landscape, Social Media Archeology and Poetics documents social media lineage, beginning in the 1970s with collaborative ARPANET research, Community Memory, PLATO, Minitel, and ARTEX and continuing into the 1980s and beyond with the Electronic Café, Art Com Electronic Network, Arts Wire, The THING, and many more. With first person accounts from pioneers in the field, as well as papers by artists, scholars, and curators, Social Media Archeology and Poetics documents how these platforms were vital components of early social networking and important in the development of new media and electronic literature. It describes platforms that allowed artists and musicians to share and publish their work, community networking diversity, and the creation of footholds for the arts and humanities online. And it invites comparisons of social media in the past and present, asking: What can we learn from early social media that will inspire us to envision a greater cultural presence on contemporary social media? Contributors Madeline Gonzalez Allen, James Blustein, Hank Bull, Annick Bureaud, J. R. Carpenter, Paul E. Ceruzzi, Anna Couey, Amanda McDonald Crowley, Steve Dietz, Judith Donath, Steven Durland, Lee Felsenstein, Susanne Gerber, Ann-Barbara Graff, Dene Grigar, Stacy Horn, Antoinette LaFarge, Deena Larsen, Gary O. Larson, Alan Liu, Geert Lovink, Richard Lowenberg, Judy Malloy, Scott McPhee, Julianne Nyhan, Howard Rheingold, Randy Ross, Wolfgang Staehle, Fred Truck, Rob Wittig, David R. Woolley