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This paper discusses the status, objectives and procedures of contemporary industrial design education. It points out that professional designers are searching for meaningful and valid guidelines for the relatively new profession, and that current attitudes and practices in design education reflect this search. The major historical movements contributing to current industrial design training are reviewed briefly. The early marriage of industrial design and the visual arts is noted, as is the increasing interdisciplinary nature of industrial design education exemplified by its extension into many new but related fields such as human factors engineering. General descriptions of typical and atypical contemporary academic programs in industrial design education are presented. Reference is made to the important contribution of the professional association of industrial designers in support of design education, the Industrial Designers Society of America.

Ten packaging designers were tested on three specially developed tests which required them to analyze various design situations and to construct a conceptual drawing of the equipment configuration according to design specifications. Five human factors specialists were also tested on several sub-test items. Designers appear to have little or no interest in human factors criteria or information and usually fail to consider human factors in their designs. Their analysis of design requirements is minimal and shallow. Human factors personnel reacted in a manner similar to designers in terms of overall design criteria.

The purpose of this paper is to provide a designer or systems analyst a guide to human performance limitations in vision when fixation must be redirected from one display to another. The focus is on large angular separation (greater than 20 deg) and on tasks wherein speed is of importance. Patterns of eye and head movements are shown, as well as quantitative data on saccades, periods of eyelhead compensation, and head movement. Independent variables include interdisplay angle, display visibility, operator's knowledge of display location, and some relevant characteristics of a possible task which must be interrupted for the refixation. Intersubject and intrasubject variability are also presented.

Françoise Dubost
Landscape designers and the invention of landscape.
How does the landscape designers' profession work out its identity, at the meeting point of a range of lines of force, — such is the issue of this article, which proceeds in analysing the history of training institutions, the strategy of professional organizations, the nature of order, the pres¬ sure of exogenous competition, indétermination of landscape's own definition, and the divisions among the professional world itself. In this case as well as in others, identity is obviously a problem and a stake.

Designers: Two Saudi Arabian sisters, Hamida and Nadia Alireza , and Hamida's daughter , NaJa Alireza. Main Workshop: Jeddah , Saudi Arabia

Miss Leila Musfy (Lebanese) who is presently Assistant Professor, Advisor and Coordinator to the Graphic and Advertising Program at Beirut University College is one of the better known Graphic Designers in Lebanon.

One of the central choices that confronts designers of direct taxes is that of the precise combination of equity and administrative ease. Both equity and administrative ease are normally accepted as desirable objectives in the design of taxes. But the objectives conflict with each other. Equity requires a tax sufficiently flexible to adjust the size of the tax payment to the individual taxpayer's ability to pay. Administrative simplicity, by contrast, requires a tax where the due payment can be quickly and simply calculated, and promptly and conveniently collected. Thus tax designers face the painful dilemma of being able to achieve improvements in equity only by increasing the difficulty of tax administration, or, alternatively, of being able to reduce these difficulties only by accepting additional inequities.

The very first issue of this journal struck an important and vibrant chord. It contained a series of "statements of concern" by a number of the members of the editorial board. Many, if not nearly all, of the statements expressed concern with the impacts and potential ill effects of technology on people. Among the concerns expressed were: (1) there was worry that the field of office automation was or would be dominated by technologists and vendors with a limited point of view to push; (2) there was worry that current designers are generally insensitive to broader human needs; (3) there was concern that current conceptions of office design and technology embody a naive and simplistic view of the user, and that they contribute to an inflexible and mechanistic concept of work; (4) considerable concern was also expressed that current thinking contributes, whether unconsciously or not, to a further invasion of personal privacy; in general, current conceptions pose a threat to personal freedoms; and finally (5) concern was expressed that we need more systematic and sustained study of a topic that has heretofore just barely risen above the plane of consciousness, i.e., the psychoses of system design; for instance, what drives the designers of large scale computer systems to produce systems such that they are user unfriendly and even user threatening; and strangely enough, why do the users of such systems buy into the psychoses of their designers?

The concept of implicit theories is used to explain how the ideas of organization designers are translated into organizational structures. The concept is also used to explain how organization members respond to structural characteristics. Research strategies for measuring the implicit theories of organizing on which these explanations are based are also discussed.