5 Books on Simplicity: Design, Technology, Business, Life

Painting by Jane Mount


When I moved to Silicon Valley, I donated all of my books to Designer Fund in San Francisco. It’s freeing to let go of the past. I’ve found that it makes things a lot simpler for yourself — and it forces you to figure out what truly matters. As I wrote in a book on simplicity now over a decade ago:

Simplicity is about subtracting the obvious and adding the meaningful. 

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Design in Tech Report 2018

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Silicon Valley design guru John Maeda distinguishes between three categories: “classical” designers, who create physical objects or products; “commercial” designers who innovate by seeking deep insights into how customers interact with products and services; and “computational” designers, who use programming skills and data to satisfy millions or even billions of users instantaneously.

Clay Chandler on the Design in Tech Report
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Foreword for Make It New, by Barry Katz

This is the draft and unedited foreword to Barry Katz’s book, Make It New.


At a recent MIT event, I had the opportunity to listen to a variety of stories as told by Professor Nicholas Negroponte on how the MIT Media Lab came to be. He shared many great ones – ranging from his chance dinner encounter with Buckminster Fuller on a cruise ship, to how he came to know William J. Mitchell just when he had arrived in the US, to his chauffeur-driven adventures with his mentor, MIT President Jerome Wiesner, in launching the Media Lab in the early 80s.

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The South Face of the Mountain

Powerful and inspired computer art requires a melding of the aesthetic and engineering sensibilities in the same person

by John Maeda /  July 1, 1998 

for Technology Review

In Japan, a miyadaiku (a carpenter trained in the ancient art of Japanese temple carpentry) attains special status from the Emperor if the temple he builds stands for more than a thousand years. “Such temples,” said one of the last miyadaiku, the late Tsunekazu Nishioka, “stand not because of the magnificence of their design, but because the miyadaiku goes to the mountain, and selects trees from the south face of the mountain to be used for the south face of the temple, trees from the west face of the mountain for the west face of the temple, and so on for the other two sides.” Because the building materials are carefully selected in order to respect the laws of nature, the temple can coexist in harmony with nature. Both the extrinsic and intrinsic qualities of the temple radiate its overall strength and beauty.

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