By following a handful of particular objects—from engraved stones and broken ostrich eggshells to painted hands and ancient pottery—we trace the emergence of one of humanity's earliest visual languages.

Why does design history matter to practice? Through the work of an unlikely trio of architects/designers, this article explores how design history develops observation, analysis, and design judgment — the foundations of more creative and meaningful work.

Before art, before design, before style, there was only making. This introduction to design thinking in prehistory traces the moment when human beings first began to recognize form—and, in doing so, create meaning in the world around them.

The Elements are what we design with. The Principles are how we arrange them. Together, they create Design.

While there were three quite different approaches to Design Reform in the 19C, all reflected a growing recognition:  the reunification of the fine and decorative arts was the way forward.

The Moral/Idealistic Path of Design Reform reshaped the very foundation of design. What began as a plea for truth in materials and construction and a protest against industrial injustice evolved into a vision of design as a moral force.

The Pragmatic Path of Design Reform was about institutions, training, and practical frameworks. The goal was to supply better models, educational systems, and guidance for industry. The focus was not lofty ideals, but pragmatic structure.

The Aesthetic Movement was about beauty for its own sake — the sensual pleasure of it – along with cultivating taste, refinement, and an unapologetic air of snobbery.