Eksamen Designteori og - historie Udleveres den 2. juni 1. Vælg 1 ud af 4-5 designobjekter. 2. Beskriv og analyser objektet ud fra de formprincipper og perioder vi har gennemgået (husk et objekt kan sagtens udtrykke forskellige formsprog på samme tid) 3. Re-design objektet til en af de designbevægelser vi har (De Stijl, Bauhaus, Ulm, osv.) 4. Redegør for transformationen fra det oprindelige til det nye design Deliverables: 1 A1-plakat som formidler jeres proces, designvalg og endelige resultat (Medbring gerne fysiske modeller) 2. Skriftlig individuel opgave (vejl. Omfang 8-10 sider) Mundtlig eksamen: Afholdes d. 9-10. Juni, 2011. Objekterne vil være tilstede i eksamenslokalet Ekstern Censor: Morten Søndergaard, Lektor, PhD & MA, Art & Technology, AAU
Dagen i dag Oplæg Gruppe 5: Forelæsning: Postmodernisme II (1980-1990)
Postmodernisme II Fra Postmodernisme til dekonstruktivisme
Forelæsningens forløb Postmodernismens indflydelse i design: Hvad sker der efter 1980? 1. Strategisk design (storytelling, branding) Design handler om at give folk oplevelse og mening Nogle grundbegreber fra frog: meaning, emotions, value PAUSE 2. Design som kritik (critical design) - viderefører de radikale tendenser Design handler om at bevidstgøre mennesker om vilkår for forbrug, teknologi-udvikling, m.v. Droog design (NL) Anthony Dunne post-optimal design og parafunktionalitet (UK)
frog Designbureau, grundlægges i 1969 som Esslinger Design (Andreas Haug and Georg Spreng) 1982 frogdesign, San Francisco, Californien Starter som Industriel designbureau - i dag strategisk designbureau (Ross Lovegrove, Tucker Viemeister) Form follows emotion I always felt that form follows function was a simplistic and misunderstood reduction of Sullivan s wider description. I also believe that function is a must, however humans always strived for a deeper MEANING http://www.google.dk/imgres?imgurl=http://www.design-emotion.com/wp-content/uploads/hartmutesslinger.jpg&imgrefurl=http://www.design-emotion.com/2006/08/15/getting-emotional-with-hartmut-esslinger/ &usg= jgkpgruryutahqegbjz5znqvaui=&h=304&w=350&sz=22&hl=da&start=3&um=1&itbs=1&tbnid=ygkwqn_t xj1gjm:&tbnh=104&tbnw=120&prev=/images%3fq%3dfrog%2bdesign%26um%3d1%26hl%3dda%26client%3dfirefox-a %26hs%3DB3Z%26sa%3DN%26rls%3Dorg.mozilla:da:official%26tbs%3Disch:1 Hartmut Esslinger
frog No matter how elegant and functional a design, it will not win a place in our lives unless it can appeal at a deeper level, to our EMOTIONS. Frog: Form Follows Emotion, p. 9 Hartmut Esslinger
frog We believe consumers don t first buy a product, they buy VALUE in the form of entertainment, experience and self-identity. Frog: Form Follows Emotion, p. 9 Hartmut Esslinger
Brand model
Brand model Værdier Produkt Essence Associations (Positive & negative) Kilde: L. Butterfield Enduring Passion - The Story of the Mercedes-Benz Brand, Wiley.
MEANING Denotation Udtryk Konnotation Bibelsk kode Kybernetisk kode Forbudden frugt, fristelse, Indhold (b) guddommelighed, trodse autoriteter, overjordisk, fuldendte anderledes tænkende, originalitet Indhold (a) et Produktkategorisering: æble som der er spist et af artfakt af denne type (bil), til brug for en bestemt handling (transport), osv. Citroën DS (fr. déesse, deïté) Roland Barthes: Mythologies (1957) og Systéme de la Mode (1967)
MEANING Produkters konnotative betydninger er lig med Esslingers deeper meaning Brand essence Brand essence is the original, defining, central idea or thought that is at the very heart of what the brand is and represents. (Butterfield, p. 67) Every brand has a fundamental essence that is not physical or defined exclusively or entirely by products or services. (Marcel Danesi, Brands, p. 24) http://www.youtube.com/watch?v=oyecfv3ubp8
MEANING Brand essens vs brand image
MEANING Strategisk design & brand image Kilde: Leslie Butterfield: (2005) Enduring Passion. The Story of the Mercedes-Benz Brand. John Wiley & Son. Coke Cola - Aldi Adidas - en engelsk supermarkedskæde
Emotionelle elementer i design ifølge Esslinger: EMOTIONS Might be a tactile ergonomic experience Reinventing the familiar May appeal to our desire for enhanced nostalgia
EMOTIONS design considerations behavioral expectation-induduced utility appearance visceral perceptually-induduced reflective intellectually-induduced designer user product D. Norman & A. Ortony Designers and Users: Two Perspectives on Emotion and Design
EMOTIONS The visceral level! Perceptually induced reactions! Involve automatic evaluation of the perceptual properties of objects (surface features, material, the immediate appearance of products, etc.)! Negative/positive assessments signal harmful/beneficial experiences! Perceptually induced reactions are not based on past experience! Determined by biology high degree of invariance in response patterns across cultures
EMOTIONS The behavioral level! Expectation induced reactions aimed at the function and use of a product! Depend on the user s individual and social learning, past experience! Intimately connected to predictions of and expectations about the near future! Vary from person to person, from culture to culture
EMOTIONS The reflective level! Intellectually induced reactions triggered by people s self-examination of their own actions and understanding of the situation at hand! Concerns matters of ownership, quality and brand image! Influenced by experience and culture as well as by one s social group! Vary greatly from culture to culture,age group to age group
We believe consumers don t first buy a product, they buy VALUE in the form of entertainment, experience and self-identity. VALUES Frog: Form Follows Emotion, p. 9 The Mac was more like your friend, instead of your slave Frog: Form Follows Emotion, p. 22
VALUES The Theory of the Leisure Class (1899) "conspicuous consumption" (eng. iøjnefaldende forbrug) forbrug som middel til at opnå, udtrykke og signalere social status Thorstein Veblen (1857-1929)
VALUES Brand image Det postmoderne samfund karakteriseres ofte af sociologer ved tabet af forudbestemte og stabile identiteter De store fortællingers død Nationalstat vs. globalisering - udviskning af geografiske grænser Det klasseløse samfund Politiske blokke - ideologiske grænser Religiøse autoriteter Kernefamilien er i opløsning
VALUES What we sell is the ability for a 43-year old accountant to dress in black leather, ride through small towns and have people be afraid of him. Harley Davidson Executive
Brand model Værdier Produkt Essence Associations (Positive & negative) Kilde: L. Butterfield Enduring Passion - The Story of the Mercedes-Benz Brand, Wiley.
Brand experience Lufthansa Together, frog and Lufthansa examined every aspect of the company s identity: its brand architecture; the use of colors in its logo; the primary and secondary core values. Our research indicated that the design of departure lounges actually adds to the stress of flying... Sweeping aerodynamic curves and non-traditional seating patterns in the lounge area smooth away passengers anxiety. By blending nostalgia for the rich, romantic history of aviation with the professional, technical expertise of the brand today, frog s designers produced a unique visual lexicon for Lufthansa. http://www.frogdesign.com/case-study/lufthansa-brand-experience.html
Hvad kan vi bruge det til? Modellerne kan I bruge til at analysere forholdet mellem produkt, firma og forbrugere Arbejde strategisk med betydning og fortælling i jeres produktudvikling Efter research, brainstorming og idegenerering kan I holde jeres koncepter op imod et firmas brand identitet, forbrugernes brand image, osv. Mening og betydning i design skal ses i et bredere perspektiv sammen med hvilke følelser og oplevelser et produkt skal tilbyde
Cages Save Lives 2002 http://www.youtube.com/watch?v=5wgcxby03ls&feature=related http://www.youtube.com/watch?v=5wgcxby03ls&feature=related - Hvad sir reklamen om vores medtraffikanter der ikke lige kører i Volvo?
Ambush 12% sales increase Movies were viewed over 11 millions times in 4 months 2 million people registered with the website sending links (viral marketing) The series had been viewed over 100 million times in four years and had changed the way products were advertised Reviewed by Time Magazine and New York Times * Starring Clive Owen, Tomas Milian * Directed by John Frankenheimer * Featured the BMW 7 Series http://www.youtube.com/watch?v=pkyutuw-8ig
Pause
Forelæsningens forløb Postmodernismens indflydelse i design: Hvad sker der efter 1980? 1. Strategisk design (storytelling, branding) Design handler om at give folk oplevelse og mening Nogle grundbegreber fra frog: meaning, emotions, value Pause 2. Design som kritik (critical design) - viderefører de radikale tendenser Design handler om at bevidstgøre mennesker om vilkår for forbrug, teknologi-udvikling, m.v. Droog design (NL) Anthony Dunne post-optimal design og parafunktionalitet (UK)
Droog design (NL) Grundlagt i 1993 af Gijs Bakker & Remy Ramakers under møbelmessen i Milano Gijs Bakker er leder af Designakademiet Einhoven: The School of Cool There was the Memphis Movement in the 80s, Droog in the 90s (Dick Danckers) The original goal of Droog was to discover and present new Dutch and foreign talented designers and to stimulate discussion about the profession, Gijs Bakker Droog er forbundet med en ny generation af designere: Marcel Wanders, Tejo Remy, Hella Jongerius, Piet Hein Eek, Marten Baas, m.fl The Droog Rag Chair by Dutch "green" designer, Tejo Remy
Hella Jongerius: Office Pets Tejo Remy, Milk Bottle Chandelier
There are more than enough objects out in the world and on their way to our landfills, so there's no imperative to add more. Unique ideas and discomfiting innovations are the things in short supply. Tejo Remy You can't lay down your memories cabinet, 1993, Tejo Remy
Critical Design
Critical Design Forbindes med Anthony Dunne & Fiona Raby, RCA Post-optimal design The most difficult challenges for designers of electronic objects now lies not in technical and semiotic functionality, where optimal levels of performance are already attainable, but in realms of metaphysics, poetry, and aesthetics, where little research has been carried out (Hertzian Tales, p. 20) A form of social research to integrate aesthetic experience with everyday life through conceptual products Det designfilosofiske afsæt hentes bl.a. i avantgarden og den radikale designbevægelse (Sottsass, Branzi, Pesce)
(IN)human factors Kritik af Human Factor (Norman) og HCI Vender sig imod ideen om interfacet som en gennemsigtig indpakning af produktet Enslavement to the conceptual models, values, and systems of thought the machine embody Naturaliserer ideologier (cf. Barthes mythologier) og bringer derved rationalitet og funktionalitet ind i hverdagslivet på bekostning af det poetiske, private, mv. Design er aldrig ideologi-fri/neutral
Opgøret med produktsemantikken (Cranbrook, Klaus Krippendorff, m.fl.) Such literal use of analogy results in metaphors with a single meaning... the power of these borrowed images to sustain interest is weak - they are the material equivalent of one-liners A. Dunne Hertzian Tales, p. 29 Lisa Krohn, Phonebook, 1988
Daniel Weils Radio in a Bag hvis design ikke er andet end ren packaging, så kan man vel som designer ligeså godt lave en fin indpakning til funktionerne? Udstiller ironisk ideen om det transparente interface
The invisible computer for the 21st century? (Mark Weiser) The Pillow is an abstract radio for encouraging an awareness of the local electroclimate, a bit like weather equipment. It responds to changes in the local radio frequency environment within a range of 200 m, picking up mobile phones, pagers, walkie-talkies and even baby monitoring devices. It questions notions of privacy -- although the person listening to conversations is a social invader, the radiation from the phone call is invading their home and body.
Anthony Dunne Royal College of Art (RCA) Para-functionality To provide conditions where users can be provoked to reflect on their everyday expereince of electronic objects, it is necessary to go beyond forms of estrangement grounded in the visual and instead explore the aesthetics of use grounded in functionality, turning to a form of strangeness that lends the object a purposefulness. (Dunne, Hertzian Tales, pp. 41-42). Føjer her en ekstra dimension til Venturis Empsoninspirerede designteori, nemlig at det tvetydige og komplekse er træk ved funktionalitet og interaktivitet og ikke bare noget man som designer arbejder med i produktets visuelle form.
Para-funktionalitet a form of design where function is used to encourage reflexion on how electronic products condition our behavior (p. 43) Through use, or at least by modeling a scenario of use in the mind, the observer discovers new ways of conceptualizing reality (p. 67) This is the role of the para-functional as criticism (p. 67)
Nogle eksempler på parafunktionelle designobjekter Krysztof Wodiczko s Homeless Vehicles (1988-1989)
Nogle eksempler på parafunktionelle designobjekter Jack Kevorkian Suicide Machine
Patologiske para-funktionelle objekter Anthony Dunne & Fiona Raby Faraday Chair
Richardo Dominquez TRANSBORDER IMMIGRANT TOOL
Vestergaard Frandsen Lifestraw INDEX AWARD 2005
Opsamling Postmodernismen og den kommercielle retning: frog design, Cranbrook, IDEO, m.fl Postmodernismen og den radikale anti-design retning: droog, critical design Mening og følelse i design defineres strategisk i forhold til corporate identity og brands Bevæger sig sjældent ud over designprincip 1 og 2 Kritik? Mening og følelser opstår ud fra en kritisk forholden sig til forbrugersamfundets værdier, teknologiens forandring af vores måde leve, tænke og kommunikere på Designprincip 1 og 2 interesser ikke rigtig Dunne Inddrager funktionen/interaktivitet som et element ved siden af betydning og form Balancen mellem kommerciel og avant-garde kan være hårfin (droog) Kritik?
De næste gange Imorgen: arbejde med designopgaven Næste MANDAG (16/5): Kritik af jeres postmodernistiske designobjekt Gruppeoplæg om Cranbrook Oplæg om Cradle-to-Cradle (TM) Den sidste designopgave (Postmodernisme II)