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Well-designed infrastructure brings social value that far exceeds its initial construction expenditure, but competition for scarce government funds and a general public perception of infrastructure as mere efficiency, has often left design ill-considered. This book provides designers with the tools needed to argue for the value of design: the ‘design capital’ as the authors term it. In naming and defining design capital, design can once again become part of the discussion and realization of every infrastructure project. Design Capital offers strategies and tools for justifying public spending on design considerations in infrastructure projects. Design has the ability to make infrastructure resonate with cultural or social value, as seen in the case studies, which bestows infrastructure with the potential to accrue design capital. Support for this proposition is drawn from various methodologies of economic valuation and Bourdieu’s theory of cultural capital, explanation of design methodology and education and a series of historical and contemporary case studies. The book also addresses some of the more controversial outcomes associated with contemporary infrastructure: gentrification, globalization and consumer tourism. With this book, designers can make a stronger case for the value of design in public infrastructure.
An essay by Hannah Ellis -00It starts with a question, perhaps a passing interest. Design takes over a city, with clutters of exhibitions in galleries and disused spaces working loosely in response. New biennials and festivals and weeks emerge every year. Old events happen again simply because they happened before. What is it that these events and their predictable patterns actually achieve, though?00For almost 200 years, continuing a line of thought first started by events like the Great Exhibition, ?design events? have become more and more popular across Europe, tangling around local, national, and international politics and economics. But can design be important or meaningful at this kind of scale? And how do these events act on people and places ? as well as on the discipline itself? With the pause that the pandemic offers, is this the moment to examine who and what they exclude, taking the time to imagine what they could be instead?0--0Hannah Ellis is a designer, writer and educator based in London (UK).
How can otherwise normal, moral persons - as citizens, voters, and jurors - participate in a process that is designed to take the life of another? In DEATH BY DESIGN, research psychologist Craig Haney argues that capital punishment, and particularly the sequence of events that lead to death sentencing itself, is maintained through a complex and elaborate social psychological system that distances and disengages us from the true nature of the task. Relying heavily on his own research and that of other social scientists, Haney suggests that these social psychological forces enable persons to engage in behavior from which many of them otherwise would refrain. However, by facilitating death sentencing in these ways, this inter-related set of social psychological forces also undermines the reliability and authenticity of the process, and compromises the fairness of its outcomes. Because these social psychological forces are systemic in nature - built into the very system of death sentencing itself - Haney concludes by suggesting a number of inter-locking reforms, derived directly from empirical research on capital punishment, that are needed to increase the fairness and reliability of the process. The historic and ongoing public debate over the death penalty takes place not only in courtrooms, but also in classrooms, offices, and living rooms. This timely book offers stimulating insights into capital punishment for professionals and students working in psychology, law, criminology, sociology, and cultural area studies. As capital punishment receives continued attention in the media, it is also a necessary and provocative guide that empowers all readers to come to their own conclusions about the death penalty.
"Capital markets have undergone a dramatic transformation in the past two decades. Algorithmic high-speed supercomputing has replaced traditional floor trading and human market makers, while centralized exchanges that once ensured fairness and transparency have fragmented into a dizzying array of competing exchanges and trading platforms. Darkness by Design exposes the unseen perils of market fragmentation and 'dark' markets, some of which are deliberately designed to enable the transfer of wealth from the weak to the powerful. Walter Mattli traces the fall of the traditional exchange model of the NYSE, the world's leading stock market in the twentieth century, showing how it has come to be supplanted by fragmented markets whose governance is frequently set up to allow unscrupulous operators to exploit conflicts of interest at the expense of an unsuspecting public. Market makers have few obligations, market surveillance is neglected or impossible, enforcement is ineffective, and new technologies are not necessarily used to improve oversight but to offer lucrative preferential market access to select clients in ways that are often hidden. Mattli argues that power politics is central in today's fragmented markets. He sheds critical light on how the redistribution of power and influence has created new winners and losers in capital markets and lays the groundwork for sensible reforms to combat shady trading schemes and reclaim these markets for the long-term benefit of everyone. Essential reading for anyone with money in the stock market, Darkness by Design challenges the conventional view of markets and reveals the troubling implications of unchecked market power for the health of the global economy and society as a whole"--
This book traces and analyses the role of heritage in the urban transformation of the city of Cape Town. By looking at discourses of heritage and urban design, the book shows how Cape Town positions itself as an emerging global city in the context of a series of global events. The book points at how a heritage focus on the themes of post-colonial and post-apartheid reconciliation, restitution and memory in the city shifts to a focus on creativity, design and the arts. Thereby showing how traumatic remnants of colonialism and apartheid are reframed as “design challenges”. Furthermore, it argues that the idea of a transformed society is projected into a future time and the chaotic present everyday life is left to its own devices. Against this backdrop, the book lays out the opportunities for epistemological reset and decolonial reflection on the city’s deep histories, its embedded injustices and traumas that surfaced.​
This book examines artists’ engagements with design and architecture since the 1980s, and asks what they reveal about contemporary capitalist production and social life. Setting recent practices in historical relief, and exploring the work of Dan Graham, Rita McBride, Tobias Rehberger and Liam Gillick, Bill Roberts argues that design is a singularly valuable lens through which artists evoke, trace and critique the forces and relations of production that underpin everyday experience in advanced capitalist economies.
Secure venture capital? Easy. Getting a business up and running or pushing a brilliant product to the marketplace requires capital. For many entrepreneurs, a lack of start-up capital can be the single biggest roadblock to their dreams of success and fortune. Venture Capital For Dummies takes entrepreneurs step by step through the process of finding and securing venture capital for their own projects. Find and secure venture capital for your business Get your business up and running Push a product to the marketplace If you're an entrepreneur looking for hands-on guidance on how to secure capital for your business, the information in Venture Capital For Dummies gives you the edge you need to succeed.
Whose City is That? shows that Istanbul is produced not only by strong and systematic efforts, corporate influences and/or marketing activities, but also by individual contributions and coincidences. As such, the primary purpose of this book is to find the answer of to whom Istanbul does belong, presenting the reader with the richness of human experience and the practice of everyday life. The chapters in this book are therefore focused on the physical and economic dimensions, as well as the imaginary, fictional and hyper-real dimensions, expressing the concern of bringing the real and imaginary borders of the city together. The book provides an understanding that for each inhabitant there is another city, another Istanbul. Each person living in the city creates or lives in another city which is made of their own personal and particular experiences. In addition, the Istanbul the authors understand and describe turns into something different moment by moment, which cannot be defined or identified because of its very nature as a megacity. However, its flow is not aimless and non-directional, and each sign is not causeless or dateless. In this context, in order to make the possibilities of the city visible, the contributors to this volume ask: â oeIstanbul, whose city is it?â The title of the book enables different academics to ask the same question using different methodologies and subjects. The question â oeWhose City is That?â and the necessity of studying Istanbul using multidisciplinary perspectives brought many researchers from different fields together, because the city is larger than one approach and the constraints of one â oeuniqueâ field. Gathering researchers and academics from various disciplines, such as communication studies, cultural studies, cinema/media studies, literature, the fine arts, city and regional planning, political science, social and economic geography, anthropology, and architecture enables each to think about the city alone and together, so as to create new forms of thought and discourse about Istanbul.