We're rebelling against technology that's too complicated, DVD players with too many menus, and software accompanied by 75-megabyte "read me" manuals. The iPod's clean gadgetry has made simplicity hip. But sometimes we find ourselves caught up in the simplicity paradox: we want something that's simple and easy to use, but also does all the complex things we might ever want it to do. In The Laws of Simplicity, John Maeda offers ten laws for balancing simplicity and complexity in business, technology, and design—guidelines for needing less and actually getting more.Maeda—a professor in MIT's Media Lab and a world-renowned graphic designer—explores the question of how we can redefine the notion of "improved" so that it doesn't always mean something more, something added on.Maeda's first law of simplicity is "Reduce." It's not necessarily beneficial to add technology features just because we can. And the features that we do have must be organized (Law 2) in a sensible hierarchy so users aren't distracted by features and functions they don't need. But simplicity is not less just for the sake of less. Skip ahead to Law 9: "Failure: Accept the fact that some things can never be made simple." Maeda's concise guide to simplicity in the digital age shows us how this idea can be a cornerstone of organizations and their products—how it can drive both business and technology. We can learn to simplify without sacrificing comfort and meaning, and we can achieve the balance described in Law 10. This law, which Maeda calls "The One," tells us: "Simplicity is about subtracting the obvious, and adding the meaningful."

    It's a holistic approach to systems methodology. It deals with all dimensions of a system: structure, function and process. Peter Senge introduced Systems Thinking/practice. Interact clients asked the author to write a book to take them "further down the Senge trail". This book does that by taking the reader into "real world" stories. It is based on experiences in five real companies using systems practice.It is about a new mode of seeing, doing and being in the world; a way of thinking through chaos and complexity. It speaks to those thinkers and practitioners who have come to realize that learning "to be" is as much a necessary part of a successful professional life as is the learning "to do."Natural science has discovered "chaos". Social science has encountered "complexity." But chaos and complexity are features of our perceptions and understanding. We see the world as increasingly more complex and chaotic because we use inadequate concepts to explain it. When we understand something, we no longer see it as chaotic or complex. It seems that playing the new game requires learning a new language. A language of interaction and design that will allow us to see through chaos and understand complexity.In a nutshell, this book is about systems. However, it goes beyond the simple declaration of desirability of systems thinking. With a practical orientation and yet a profound theoretical depth, the book offers an operational handle on the whole by introducing an elaborate scheme called iterative design. The iterative design explicitly recognizes that choice is at the heart of human development. Development is the capacity to choose; design is a vehicle for enhancement of choice and holistic thinking. Designers, in this book, seek to choose rather than predict the future. They try to understand rational, emotional, and cultural dimensions of choice and to produce a design that satisfies a multitude of functions. They learn how to use what they already know and also about how to learn what they need to know.

    What followed was a family journey of epic proportions – a journey of physical challenge, emotional endurance, teamwork, perseverance, and tremendous learning opportunities. It was a discovery of self, of priorities, of accepting hardships, of appreciating blessings, and of contrasting a comfortable past life with the extreme hardship and poverty of those they met.

    By reading the guide you'll understand the steps that will need to be taken and know where and how to start building your own tiny house.

    Anthony Vidler interprets contemporary buildings and projects in light of the resurgent interest in the uncanny as a metaphor for a fundamentally unhomely modern condition. The essays are at once historical--serving to situate contemporary discourse in its own intellectual tradition and theoretical--opening up the complex and difficult relationships between politics, social thought, and architectural design in an era when the reality of homelessness and the idealism of the neo-avant-garde have never seemed so far apart.Vidler, one of the deftest and surest critics of the contemporary scene, explores aspects of architecture through notions of the uncanny as they have been developed in literature, philosophy, and psychology from the beginning of the nineteenth century to the present. He interprets the unsettling qualities of today's architecture--its fragmented neo-constructivist forms reminiscent of dismembered bodies, its seeing walls replicating the passive gaze of domestic cyborgs, its historical monuments indistinguishable from glossy reproductions - in the light of modern reflection on questions of social and individual estrangement, alienation, exile, and homelessness.Focusing on the work of architects such as Bernard Tschumi, Rem Koolhaas, Peter Eisenman, Coop Himmelblau, John Hejduk, Elizabeth Diller, and Ricardo Scofidio, as well as theorists of the urban condition, Vidler delineates the problems and paradoxes associated with the subject of domesticity.