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181 $ctxt 182 $cc 183 $acr 200 10$aDesign dictionary$b[electronic resource] $eperspectives on design terminology /$fMichael Erlhoff, Tim Marshall (eds.) 210 $aBasel $cBirkhauser Verlag AG$dc2008 215 $a1 online resource (450 p.) 225 1 $aBoard of international research in design 300 $aDescription based upon print version of record. 311 $a3-7643-7739-9 327 $t Frontmatter -- $t Foreword BIRD -- $t Design in a Dictionary -- $tA -- $t ACOUSTICS -- $t ADDED VALUE -- $t ADVERTISEMENT -- $t AERODYNAMICS -- $t AESTHETICS -- $t AFFORDANCE -- $t AGIT PROP -- $t ANIMATION -- $t ANONYMOUS DESIGN -- $t ARCHITECTURAL DESIGN -- $t ART DECO -- $t ART DIRECTION -- $t ARTIFACT -- $t ART NOUVEAU -- $t ARTS & CRAFTS -- $t ASPEN -- $t AUDIOVISUAL DESIGN -- $t AUTEUR DESIGN -- $t AUTOMOBILE DESIGN -- $tB -- $t BAUHAUS -- $t BEAUTY -- $t BEL DESIGN -- $t BENCHMARKING -- $t BIONICS -- $t BLACK MOUNTAIN COLLEGE -- $t BLUEPRINT -- $t BRAINSTORMING -- $t BRAND -- $t BRANDING -- $t BRIEF -- $t BROADCAST DESIGN -- $tC -- $t CAD / CAM / CIM / CNC -- $t CAMPAIGN -- $t CAPITAL GOODS -- $t CAR DESIGN -- $t CHARACTER DESIGN -- $t COATING -- $t COLLABORATIVE DESIGN -- $t COLLECTIONS -- $t COMMERCIAL -- $t COMMUNICATION DESIGN -- $t COMMUNICATIONS -- $t COMPLEXITY -- $t COMPONENTS -- $t COMPOSITING -- $t CONCEPTUAL DESIGN -- $t CONSTRUCTION -- $t CONSTRUCTIVISM -- $t CONSUMPTION -- $t CONTINUITY -- $t CONVENTION -- $t CONVERGENCE -- $t CONVERSATION PIECE -- $t COORDINATION -- $t COPY -- $t COPYRIGHT -- $t CORPORATE CULTURE -- $t CORPORATE DESIGN -- $t CORPORATE FASHION -- $t CORPORATE IDENTITY -- $t CRAFT -- $t CREATIVITY -- $t CREDIBILITY -- $t CRITICAL DESIGN -- $t CRITICISM -- $t CRITIQUE -- $t CROSS-CULTURAL DESIGN -- $t CROSSOVER -- $t CUSTOMIZATION -- $tD -- $t DADA AND DESIGN -- $t DECONSTRUCTION -- $t DECORATION -- $t DESIGN -- $t DESIGN AGAINST CRIME -- $t DESIGN AND POLITICS -- $t DESIGN ASSOCIATIONS -- $t DESIGN AWARDS -- $t DESIGN CENTERS -- $t DESIGN COMPETENCE -- $t DESIGN CRITICISM -- $t DESIGN EDUCATION -- $t DESIGN HISTORY -- $t DESIGNING -- $t DESIGN MANAGEMENT -- $t DESIGN METHODS -- $t DESIGN MUSEUMS -- $t DESIGN PLANNING -- $t DESIGN PROCESS -- $t DESIGN PUBLICATIONS -- $t DESIGN RESEARCH -- $t DESIGN SOLUTIONS -- $t DESIGN STRATEGY -- $t DESIGN THEORY -- $t DEUTSCHER WERKBUND -- $t DIGITAL DESIGN -- $t DISCIPLINE -- $t DISPLAY -- $tE -- $t ECO DESIGN -- $t EDUCATION -- $t ENGINEERING DESIGN -- $t ENVIRONMENTAL DESIGN -- $t ERGONOMICS -- $t ETHICS -- $t EVALUATION -- $t EVENT DESIGN -- $t EXHIBITION DESIGN -- $tF -- $t FAKE -- $t FASHION DESIGN -- $t FEASIBILITY STUDIES -- $t FLOP -- $t FLYER -- $t FOOD DESIGN -- $t FORM -- $t FUNCTION -- $t FUNCTIONALISM -- $t FUNCTIONAL MODEL -- $t FURNITURE DESIGN -- $t FUTURISTIC DESIGN -- $tG -- $t GAME DESIGN -- $t GARDEN DESIGN -- $t GENDER DESIGN -- $t GESTALTUNG -- $t GIMMICK -- $t GLOBALIZATION -- $t GOOD DESIGN -- $t GRAPHIC DESIGN -- $t GREEN DESIGN -- $tH -- $t HANDICRAFT -- $t HAPTICS -- $t HARDWARE -- $t HEURISTICS -- $t HIGH TECH -- $t HISTORY -- $t HUMAN COMPUTER INTERACTION (HCI) -- $t HUMAN FACTORS -- $t HYPERTEXT -- $tI -- $t ILLUSTRATION -- $t IMITATION -- $t INDUSTRIAL DESIGN -- $t INFORMATION -- $t INFORMATION DESIGN -- $t INNOVATION -- $t INTEGRATION -- $t INTELLECTUAL PROPERTY -- $t INTERACTION DESIGN -- $t INTERDISCIPLINARY -- $t INTERFACE DESIGN -- $t INTERIOR DESIGN -- $t INTERNATIONAL STYLE -- $t INTUITION -- $tJ -- $t JEWELRY DESIGN -- $t JUST IN TIME -- $tK -- $t KITSCH -- $t KNOWLEDGE MANAGEMENT -- $tL -- $t LANDSCAPE DESIGN -- $t LAYOUT -- $t LIFE CYCLE -- $t LIFESTYLE -- $t LIGHTING DESIGN -- $t LOGISTICS -- $t LOGO -- $t LOOK AND FEEL -- $t LUXURY -- $tM -- $t MARKET RESEARCH -- $t MATERIALS -- $t MECHATRONIC DESIGN -- $t MEDIA DESIGN -- $t MEMPHIS -- $t MISINFORMATION -- $t MOBILITY -- $t MODEL -- $t MODERNITY -- $t MOOD BOARD -- $t MULTIDISCIPLINARY -- $tN -- $t NEED -- $t NEEDS ASSESSMENT -- $t NETWORKING -- $t NON INTENTIONAL DESIGN -- $t NOSTALGIA -- $t NOT-FOR-PROFIT -- $tO -- $t OBJECT -- $t OBSERVATIONAL RESEARCH -- $t ODM -- $t OEM -- $t OLFACTORY DESIGN -- $t ORGANIZATION -- $t ORIENTATION SYSTEM -- $t ORNAMENT -- $t ORNAMENTATION -- $t OUTSOURCING -- $tP -- $t PACKAGING DESIGN -- $t PARTICIPATORY DESIGN -- $t PATENT -- $t PATINA -- $t PATTERN -- $t PERCEPTION -- $t PERFORMANCE -- $t PERSONA -- $t PHOTOGRAPHIC DESIGN -- $t PICTOGRAM -- $t PLAGIARISM -- $t POINT OF SALE -- $t POSTER DESIGN -- $t POSTMODERNISM -- $t PRACTICE -- $t PREPRESS -- $t PRESENTATION -- $t PROBLEM SETTING -- $t PROBLEM SOLVING -- $t PROCESS -- $t PRODUCT -- $t PRODUCT DESIGN -- $t PRODUCT DEVELOPMENT -- $t PRODUCT FAMILY -- $t PRODUCTION TECHNOLOGY -- $t PRODUCT SEMANTICS -- $t PROJECT -- $t PROTEST DESIGN -- $t PROTOTYPE -- $t PROTOTYPING -- $t PUBLICATIONS -- $t PUBLIC DESIGN -- $tQ -- $t QUALITY -- $t QUALITY ASSURANCE -- $tR -- $t RADICAL DESIGN -- $t RAPID PROTOTYPING -- $t RAZIONALISMO -- $t REDESIGN -- $t REGISTERED DESIGN -- $t RENDERING -- $t RESEARCH -- $t RESPONSIBILITY -- $t RETAIL DESIGN -- $t RETRO DESIGN -- $t RHETORIC -- $tS -- $t SAFETY DESIGN -- $t SCENARIO PLANNING -- $t SCENOGRAPHY -- $t SCIENCE OF DESIGN -- $t SCREEN DESIGN -- $t SEMANTICS -- $t SEMIOTICS -- $t SENSUALITY -- $t SERVICE DESIGN -- $t SET DESIGN -- $t SHOP DESIGN -- $t SIGNATURE DESIGN -- $t SIMPLICITY -- $t SKETCH -- $tSKILLS -- $t SLOW DESIGN -- $t SMART MATERIALS -- $t SOCIAL -- $t SOFTWARE -- $t SOUND DESIGN -- $t STAGE DESIGN -- $t ST. MORITZ DESIGN SUMMIT -- $t STORYBOARD -- $t STRATEGIC DESIGN -- $t STREAMLINE DESIGN -- $t STYLE -- $t STYLING -- $t SUSTAINABILITY -- $t SYMBOL -- $t SYNERGY -- $t SYNESTHETIC -- $t SYNTHESIS -- $t SYSTEM -- $tT -- $t TARGET GROUP -- $t TEAMWORK -- $t TEASER -- $t TEMPLATE -- $t TESTING -- $t TEXTILE DESIGN -- $t TEXTURE -- $t THEORY -- $t TIME-BASED DESIGN -- $t TITLE DESIGN -- $t TOOLS -- $t TRADEMARK -- $t TRAILER -- $t TRANSDISCIPLINARY -- $t TRANSFORMATION -- $t TRANSPORTATION DESIGN -- $t TREND -- $t TV DESIGN -- $t TYPOGRAPHY -- $tU -- $t ULM SCHOOL OF DESIGN -- $t UNDERSTANDING -- $t UNIVERSAL DESIGN -- $t URBAN DESIGN -- $t URBAN PLANNING -- $t USABILITY -- $t USE -- $t USP -- $tV -- $t VALUE -- $t VIRTUALITY -- $t VIRTUAL REALITY -- $t VIRTUAL SET -- $t VISUAL COMMUNICATION -- $t VISUAL EFFECTS -- $t VISUALIZATION -- $tW -- $t WEB DESIGN -- $t WICKED PROBLEMS -- $t The Editors -- $t The Authors 330 $aDieses Wörterbuch bietet die interessante und kategoriale Grundlage für einen ernsthaften internationalen Diskurs über Design. Es ist das Handbuch für alle, die mit Design beruflich und in der Ausbildung zu tun haben, sich dafür interessieren, sich daran vergnügen und Design begreifen wollen.Über 100 Autorinnen und Autoren u.a. aus Japan, Österreich, England, Deutschland, Australien, aus der Schweiz, den Niederlanden und aus den USA haben für dieses Design-Wörterbuch Originalbeiträge geschrieben und bieten so bei aller kulturellen Differenz mögliche Erörterungen an, sich über wesentliche Kategorien des Design und somit über Design grundlegend zu verständigen. Es umfasst sowohl die teilweise noch jungen Begriffe aktueller Diskussionen als auch Klassiker der Design-Diskurse. - Ein praktisches Buch, das sowohl Wissenschaftscharakter hat als auch ein Buch zum Blättern und Lesen ist. 330 $aThis dictionary provides a stimulating and categorical foundation for a serious international discourse on design. It is a handbook for everyone concerned with design in career or education, who is interested in it, enjoys it, and wishes to understand it.110 authors from Japan, Austria, England, Germany, Australia, Switzerland, the Netherlands, the United States, and elsewhere have written original articles for this design dictionary. Their cultural differences provide perspectives for a shared understanding of central design categories and communicating about design. The volume includes both the terms in use in current discussions, some of which are still relatively new, as well as classics of design discourse. 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À travers l?étude d?un cas spécifique, l?institution de La Pommière, foyer pour filles dites perturbées, c?est la dimension genrée des politiques de protection de l?enfance et de la jeunesse qui est ici interrogée. Une mise en perspective avec le centre de Chevrens, une institution pour garçons, met en lumière une discrimination sexuée : les filles de La Pommière ont été catégorisées comme « déviantes » de manière quasi irréversible ? contrairement aux garçons auxquels était accordé l?espoir d?une évolution positive. 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