Paper Two: Design theory Flashcards
List Design Influences
- Cultural and social influences of the time
- Major technological developments of the time
- key aspects associated with the movement/designer
- Influences on design today
Design and styles movements:
Arts and crafts movement
After the Great Exhibition of 1951, hosted in Hyde Park to celebrate the development of modern industrial technology, prominent designers held a concern - The use of machinery and factory-based production created products with unnecessary decoration, meaning the appreciation of the materials is lost.
After the industrial revolution (latter half of the eighteenth century), society was less reliant on craftsmanship, due to the demand for machinery. Contributors like William Morris focused on the natural beauty of timer in hand craftsmanship.
Design and styles movements:
Art Deco
Following Art Nouveau movement (a style or art inspired by natural forms and structures), movement of the 1920s-1930s. Named after Paris exhibition in 1925 named modern style before the exhibition.
The discovery Tutankhamun’s tomb by Howard Carter in 1922 lead to the interest in ancient art, resulting in the use of simple geometric forms and stepped pyramid structure (ziggurats). The First World War and changing social class systems pushed a new age of modern living.
Design and styles movements:
De Stijl Modernism
Evolving from Art Deco style, modernism is symbolised by key design schools such as the bauhaus and de Stijl. As the First World War ended both of these design schools were formed, the need to rebuild after the war gave the idea to modernise.
In the Netherlands, the De Stijl movement focused on the use of basic rectilinear forms and primary colour schemes. Designs were largely asymmetrical. These forms and colour schemes were evident in furniture, interiors and architecture associated with the movement.
J.J.P Out, Piet Mondrian
Design and styles movements:
Bauhaus Modernism
Evolving from Art Deco style, modernism is symbolised by key design schools such as the bauhaus and de Stijl. As the First World War ended both of these design schools were formed, the need to rebuild after the war gave the idea to modernise.
In Germany, the Bauhaus design school (1919) founded by Walter Gropius. Students studied appreciation of materials, manufacturing and form, before specialising in areas such as: metalwork, furniture architecture and graphics. Focusing on the aesthetic associated with the manufacturing process:
- Form follows function: The aesthetic appearance of a product is dictated by the way it works.
- Embracing Machine age: seeing beauty is machined finishes however showing the natural material
- Geometrically pure forms
- Everyday products for everyday people: machinery allowed products for everyone
Design and styles movements:
Streamlining
As Art Deco developed, the evolution of streamlining saw the increased use in architecture of flowing curves and smooth exteriors, bisected with chrome detailing. Seen in the car industry in the 1920s when aerodynamics started to affect the evolution of car body designs. Streamlining household objects was classed as modernity. Materials like bakelite enabled replication of flowing curves.
Raymond Loewy, Norman Bel Geddes
Design and styles movements:
Post-modernism
The modernist theory of design rebelled against ornamentation design (added details serving no purpose). Post-modernism is seen as a counter rebellion, against the simplicity of form, and purely functional nature of modernism. Memphis Design Group: During the 1970s-1980s, the group epitomised (perfected) this challenge towards modernism. Producing playful products with compromises made regarding practicality:
- Anthropomorphic: Giving human appearances or traits to objects
- Zoomorphic: Giving animal appearances or traits to an object
Memphis Design features:
- Bold and colourful playful designs: challenging the simplicity of modernism.
- Simplistic juxtapositions (two things having contrasting effect) of geometric forms: similar to Art Deco however random
- Challenging forms that are often compromised on function (form over function)
Mark Newson: ‘only to be more comfortable than a bus stop’ stated about Lockheed Lounge (1986)
Designers And Their Work:
Philip Starck
French product designer
Worked on kitchenware for Alessi (housewares and kitchen utensil company in Italy), designs regarded as post-modern sculptural pieces focusing on aesthetics over function. Philips designs were democratic (function, form, quality, sustainability and low price. When there is a balance between all five, the design is democratic)
‘Juicy Salif’ - Single-piece aluminium casting, juicer functions successfully however has flaws. Features:
- Design has high centre of mass and becomes unstable
- Head is large enough for the lemon however too large for an orange
- Form of the product is designed to be displayed and not stored
- The legs are angled so that juice does not follow the legs, spreads legs and increases stability.
Designers And Their Work:
James Dyson
British design engineer who uses the application of innovative technology to existing products. Developments off wheel barrows, hoovers, and hand dryers have revolutionised functional and essential house hold items.
DC01 Vacuum Cleaner ‘bagless’ cleaning utilising current technology and separating dust from clean air through detailed product analysis of existing hoovers. Features of the DC01:
- Changing dust collection system means the hoover separates dust and air without losing suction.
- Contrasting colour schemes mean that key features are highlighted, making it easier for the user to operate
- 3D form of the product is most injection moulded with ABS, apart from the clear bin which is polycarbonate.
- Large number of integral fixings allowing the disassembly of the product and aid maintenance.
- Designed around the technology within, clear parts give the sense of achievement to the user, showing them the progress and when to empty the bin
Designers And Their Work:
Margaret Calvert
Graphic Designer working with Jock Kinneir, developed the Transport font and many of the standard pictograms used on UK road signs. The development of stylised silhouette forms for the signs produced clear and simple communication to the motorists. Their work consisted of UPPER and lower case lettering
Designers And Their Work:
Dieter Rams
German functionalist designer had a huge impact on design in the later twentieth century, early work with Hans Gugelot (working at elm school in Germany)
Simple approach to design and application of 10 key principles has been referenced by designers who have been influenced by his work with German manufacturer Braun. Rams did for consumer electronics what the Bauhaus did for furniture (functional and minimal designs) like the SK4 Radio.
10 key principles:
- Good design is innovative
- Good design is useful
- Good design is aesthetic
- Good design is understandable
- Good design is unobtrusive
- Good design is honest
- Good design is longevity
- Good design is thorough down to the last detail
- Good design is environmentally friendly
- Good design is as little design as possible
Designers And Their Work:
Charles and Ray Eames
American Husband and Wife design partnership, famous for their work on moulded furniture both in plywood and polymers. Their modernist house (Eames House) reflected architecture of the De Stijl movement.
Their work on the LCW (Lounge Chair Wood) evolved form work with the Navy, developing leg splints from laminated plywood forms. This application of technology to furniture design paved a way for single form seating in both plywood and later in polymers.
Designers And Their Work:
Marianne Brandt
Student at the Bauhaus design school, became head of the metalwork department in 1928. She developed a range of geometrically pure kitchenware products which were successful at a time period where Bauhaus was still regarded as too controversial. The simplicity used in her products ensured their longevity and relevance in modern design.
