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Skeuomorph

Skeuomorph
A skeuomorph /ˈskjuːəmɔrf/ is a derivative object that retains ornamental design cues from structures that were necessary in the original.[1] Examples include pottery embellished with imitation rivets reminiscent of similar pots made of metal[2] and a software calendar that imitates the appearance of binding on a paper desk calendar.[3] Definition and purpose[edit] Skeuomorph is compounded from the Greek: skéuos, σκεῦος (container or tool), and morphḗ, μορφή (shape). Skeuomorphs are deliberately employed to make the new look comfortably old and familiar, or are simply habits too deeply ingrained to wash away.[5] Donald Norman, an academic in the fields of design, usability, and cognitive science, describes cultural constraints, interactions with the system in question that are learned only through culture, that give rise to skeuomorphism. The concept of skeuomorphism overlaps with other design concepts. Physical skeuomorphs[edit] Digital skeuomorphs[edit] Gallery[edit] See also[edit]

How To Choose An Ethical Career (With Help From Oxford Philosophers) If you need help choosing a career, there are aptitude tests, counselors and shelves full of best-sellers to help. But if your primary goal is moral achievement—as opposed to personal fulfillment—you might be better off asking a philosopher. That’s what I did. 80,000 Hours is a small, student-run organization with a not-so-small goal: to change the world by guiding young people into maximally ethical careers. Co-founder and philosophy Ph.D. student William MacAskill emphasizes that this doesn’t mean simply seeking out jobs with maximally ethical organizations. "That’s a common mistake," he says. According to the organization’s view of ethics-as-impact, a do-gooder job only "does good" insofar as you are better at it than the person who would have filled the job otherwise. So how do you make a difference? In an Oxford version of the Socratic method, the process started with MacAskill’s colleague and classmate Niel Bowerman probing my own philosophical views.

Why Social Sustainability Should Be Part Of Every Business I can’t think of anything that illustrates the human cost of doing business more than the tragedy this past April in Bangladesh. More than 1,100 men, women, and children died when the Rana Plaza building, which housed a number of garment factories, collapsed. Most were garment workers who were ordered by supervisors to report to work, even after inspectors deemed the building unsafe. Millions of people around the world work in dangerous and unhealthy conditions, earning a nominal income to deliver the products we consume. Some of you might be thinking that social sustainability is a phrase made up of feel-good buzz words. Here are three key points that every business leader should keep top-of-mind: Social Sustainability Mitigates Risk Simply put, ignoring social sustainability is a liability--to both your brand and product quality--that businesses can no longer afford. Similarly, businesses risk product quality by ignoring the social side of sustainability. Businesses are responding.

A Design Revolution That Could Lift Humanity Editors’ note: The following is an excerpt from The Shape of Green: Aesthetics, Ecology, and Design (Island Press). In iconic nature scenes, one shape is ubiquitous: the tree. Based on evolutionary biology’s findings about innate human preferences for savanna-like environments, Judith Heerwagen and other psychologists have focused on tree images as signals of refuge that offer the potential for shelter, shade, and nourishment. Trees and other vegetation have inspired the art and architecture of every culture throughout history, which suggests their universal appeal. The appeal of the acacia in truth may have nothing to do with its being recognized as a tree. In fact, as the experiment above suggests, the right kind of artificial imagery can be better than the wrong kind of natural imagery. Natural fractals are not those computer-generated paisleys, such as Mandelbrot’s own, popularized in the late 1980s by James Gleick’s book Chaos. And not just in nature.

15 Radical Redesigns For The TV Remote The evolution of televisions over the last several decades has been slow and steady. Every year, as true as the seasons, TVs have gotten bigger and more complex. Unfortunately, so have the remotes that come along with them. In a way, the correlation is easy to understand. Nicolas Henchoz, director of the EPFL + ECAL Lab, in Lausanne, Switzerland, finds this disconnect between man and remote striking. The general reaction at all the schools, Henchoz says, was students looking at their instructors like they were crazy. But Henchoz, along with his fellow instructors at other schools, pressed students to look beyond this inevitable trajectory. The final submissions are, however, wildly varied. Of course, most couch potatoes would look at you like you were crazy if you tried to replace their plastic clicker with a joystick, much less one of the more audacious proposals, like an abacus or a necklace.

Los Nuevos Caminos del Diseño tallerdediseno.com.co/#!/page_Services Este sitio Web recopila informaciÓn personal de contacto, como nombres, e-mail, telefono y comentarios; toda la informaciÓn enviada en los formularios de contÁctenos es confidecial y es manejada Únicamente por personal de Taller de DiseÑo con fines comerciales. Cualquier duda o comentario que tenga con respecto a la recopilaciÓn de informaciÓn del sitio web, puede escribir a designtallerdd@gmail.com ____________________ Condiciones de Uso Al ingresar a nuestro Sitio Web usted acepta los siguientes tÉrminos y condiciones de uso: - Taller de DiseÑo se reserva el derecho de hacer cambios y/o actualizaciones con respecto a la informacIÓn contenida en el Sitio Web en cualquier momento sin previo aviso. - El Sitio Web puede proporcionar vinculos a otros sitios, que no estÁn bajo control de Taller de Diseño. Todos los Derechos Reservados. E-mail: designtallerdd@gmail.com

La innovación en diseño no se encuentra en el diseño | Fernando Del Vecchio Cuando hablamos de innovación y gestión de empresas creativas, claramente estamos hablando de un «cambio». ¿Un cambio en qué? En la gestión. ¿Qué significa eso? Podríamos pensar en la «gestión», en el caso de las empresas creativas, como la serie de procedimientos, de todo tipo, que realizamos los integrantes del grupo que conforma esa empresa, para lograr resultados de conjunto. Desde el punto de vista de un profesional de la gestión, los procesos que llevan adelante los creativos (entre ellos, los diseñadores) en sus propios estudios, despachos y agencias (sus propios emprendimientos y empresas), son poco efectivos. A todo esto se suma otra dificultad: en los últimos diez años, la realidad de mercado para los creativos —principalmente para los diseñadores— ha cambiado radicalmente. La respuesta a este problema, desde el diseño, sigue siendo la misma, ahora utilizando el mencionado término «innovación». ¿Cuál es la búsqueda de innovación dentro del diseño? Author

Implementing Design Thinking: A Blog Series A warm welcome to you dear reader! If you have not already, why not subscribe to The Design Sojourn Newsletter and get my latest thoughts on Strategies for Good Design conveniently delivered right to your inbox? It's free! Thanks for visiting and please keep in touch? I was actually quite surprised to find myself deep undercover in Design Thinking activities in the last 12 months. What is even more interesting, was finding out that Design Thinking has not died (or become a failed experiment as some say), but more accurately, it has evolved into a vibrant ecosystem of activities that focuses on businesses, brands and organizations leveraging on design as a strategic competitive advantage. Some of you might mistakenly think that I’m against the whole concept of Design Thinking. This post will contain a table of contents that will be updated whenever new posts from this series are published. Table of Contents: Love this post?

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