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<p>9 preface by sir norman foster</p> <p>10 introduction</p> <p>22 grasping with the hand and mind</p> <p>28 extensions of the ego</p> <p>36 the eye, visual thinking</p> <p>47 analogous and digital</p> <p>55 universals and capitals</p> <p>60 buridan and peirce</p> <p>63 reading scores</p> <p>65 honourable burial for descartes</p> <p>75 design and philosophy</p> <p>93 architecture and epistemology</p> <p>109 use as philosophy</p> <p>133 planning and control</p> <p>146 development, a concept</p> <p>150 an apple</p> <p>154 something quite ordinary</p> <p>170 life form and ideology</p> <p>178 cultures of thinking</p> <p>188 afterword</p> <p>190 sources</p>

Otl Aicher (1922-1991) was an outstanding personality in modern design, he was a co-founder of the legendary Hochschule fur Gestaltung (HfG), the Ulm School of Design, Germany. His works since the fifties of the last century in the field of corporate design, e.g. Lufthansa, and his pictograms for the 1972 Summer Olympics in Munich are major achievements in the visual communication of our times.<br> <br> Prof. Dr. em. Wilhelm Vossenkuhl is a professor of Philosophy at Ludwig Maximilian University Munich.<br>

<p>Otl Aicher (1922–1991) was an outstanding personality in modern design, he was a co-founder of the legendary Hochschule für Gestaltung (HfG), the Ulm School of Design, Germany. His works since the fifties of the last century in the field of corporate design and his pictograms for the 1972 Summer Olympics in Munich are major achievements in the visual communication of our times.</p> <p>An integral component of Aicher‘s work is that it is anchored in a „philosophy of making“ inspired by such thinkers as Ockham, Kant or Wittgenstein, a philosophy concerned with the prerequisites and aims,<br />the objects and claims, of design. Aicher‘s complete theoretical and practical writings on design (which<br />include all other aspects of visual creativity, such as architecture) are available with this new edition of the classic work.</p> <p>If Aicher prefers the analogous and concrete to the digital and abstract he does it with a philosophical<br />intention. He relativizes the role of pure reason. He criticizes the rationality of Modernism as a result of<br />the dominance of purely abstract thinking. Anyone who prefers the abstract to the concrete does not only misunderstand the mutual dependence of concept and view. In Aicher’s judgement he is also creating a false hierarchy, a rank order that is culturally fatal. Things that are digital and abstract are not greater, higher and more important than things that are analogous and concrete.</p> <p>Wilhelm Vossenkuhl</p>

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