Many people continually ask for my suggestions of readings in design. Here is an excerpt from the "Readings and Notes" section of the 2013 revision and expansion of the book Design of Everyday Things" that provides my list of general books for interaction design. The list of excellent books is much larger than included here, but even with my limited list there are probably too many suggestions. Still, this is a good place to start.

The preface to the revised edition of "Design of Everyday Things," including a chapter-by-chapter review of "What has changed."

In June, 2010, I posted an essay on Core77 entitled "Design Thinking: A Useful Myth." I am here to say that I now have rethought my position. I still stand by the major points of the earlier essay, but I have changed the conclusion. As a result, the essay should really be titled: Design Thinking: An Essential Tool. Let me explain. (Pointer to my article published at core77.com (plus a new reference).

Ah, style. The elegance of gentle interaction, with grace and beauty, wit and charm. Or perhaps brute force abruptness, rudeness and insult. Style refers to the way of doing something and although we usually use it in the positive sense, the word itself is neutral, referring only to the manner by which something is done. Style can be coarse and ugly, brutish and dangerous. The best styles, including both those we respect and prefer and those we detest, are true and honest, consistent and coherent.

(An essay for Misc Magazine.) Maybe I am a gadget. That would certainly explain a lot of things. A quick search of the internet for the definition of gadget yields two meanings: 1. A small device that performs or aids a simple task; 2. A small device that appears useful but is often unnecessary or superfluous. Yeah, those sound like me.

(Essay for Misc Magazine.) Real complexity does not lie in the tools, but in the task. Skilled workers have an array of tools, each carefully matched to a particular task requirement. It can take years to learn which tool goes with which task, and years to master the tools. The tool set is complicated because the task is complicated. Looking at the visual simplicity of the tool is misleading. The mark of the great designer is the ability to provide the complexity that people need in a manner that is understandable and elegant. Simplicity should never be the goal. Complex things will require complexity. It is the job of the designer to manage that complexity with skill and grace.

An expanded version of my welcoming address to the "Workshop on Building the National Network for Manufacturing Innovation." The conference was to address the demise of manufacturing in the US. I tell two stories. The first is about a startup (I'm on the board) that now manufactures in China. Why? Financing, supply chain, and supplier availability. The second is why both Northwestern's MMM MBA/Engineering and MIT's LfM MBA/Engineering programs removed "manufacturing" from their names. I conclude with optimism, arguing that the US still leads in Design and Innovation, and bringing Manufacturing back will strengthen our abilities. And the new Makers and DYI communities coupled with 3D (additive) manufacturing methods creates a Disruptive Innovation that will enable a revolution in manufacturing.

When What Is Natural For Some Is Not for Others: Culture and Design. I was in Asia, giving a talk. I was given a remote controller for advancing my slides. This one had with two buttons, one above the other. When I pushed the upper button to advance to the slide, I was flustered: I went backwards through my slide set, not forward. "How could this happen?" I wondered. To me, top obviously means forward, bottom backwards. I decided to ask the audience what they thought: To my great surprise, the audience was split in their responses. Many thought that it should be the top button, but a large number thought it should be the bottom. But there is more. This is a point of view question, one that has plagued designers for years (which moves? The text or the window?) Different cultures have very different points of view. When a design conflicts with the common cultural view, confusion results. (Article posted at core77.com and jnd.org. bit.ly/NZckqz )

I'm frequently asked how to find a job or a place to study, either in industrial design or user-interface design (Human-Computer Interaction). Rather than answer it anew each time, let me summarize my answer here. You either need real work experience or a graduate degree, or both. I cannot tell you what to do. Good advice has to come from someone who knows you, who knows your interests, training, and skills. I cannot acquire that in an email message or two. So, seek out knowledgeable mentors where you live. Seek professors that you trust. Go to meetings of societies (see below). Read magazines and journals to learn who is doing what, where: then write to those people about their work.

Like many of you, I live in the 21st century, a time when society is recognizing the damage done to the environment through our inattention to the side effects of our technologies. But one specialized niche of the world still lives in the 20th century: those who write the automobile reviews for magazines and newspapers. Why do automobile reviewers still emphasize appearance (styling), speed, and performance at high speed, often to the exclusion of all else? It is time for a change. Let's have reviewers who do not dwell on the latest exterior design details, horsepower, or acceleration. Let's have reviews addressed to real people and families, reviews that emphasize the environment and the health and safety of both drivers and passengers. Time to enter the 21st Century.