Dagen i dag Kritik af designopgaver Forelæsning: Streamline Introduktion til den næste designopgave: redesign af jeres objekt til Streamline Studenteroplæg 2: Organic Design
Forelæsning STREAMLINE
Kultur / samfund Økonomiske faktorer design Teknologi
STREAMLINE - Den teknologiske baggrund Paul Jaray, ungarnsk ingeniør
1933
Buckminster Fuller Dymaxion car, 1933-34
Paul Virilio Fr. Arkitekt, byplanlægger og filosof Dromologi FARTENS ÅRHUNDREDE
Eric Mendelsohn, Schocken KauSaus, 1928
STREAMLINE - Den økonomiske baggrund 1927 Økonomisk recession 1929 Krakket på Wall Street 30rnes Depression Øget pres og konkurrencen mellem virksomheder Design = a specialist element within the division of labour implicit in massproduction and sales industrial design in the U.S was born between 1927 and 1929, i.e., right on the eve of the great depression Bill Buxton Its origins can be traced to nineteenth-century studies of natural life, and an appreciation of the efficiency of organic form in fishes and birds John Heskett: Industrial Design, p. 121
STREAMLINE - Den økonomiske baggrund Ferdinand Porsche, 1938
General Motors Alfred P. Sloan, CEO Introducerer en ny model hvert år som konkurrence parameter La Salle, 1927, design by T. Earl
Bill Buxton: Sketching User Experience
Art Deco en slags dekorativ modernisme en strømning uden politisk budskab, det handler om at lave dekorative genstande og kunst med vægt på elegance, funktion og et vist opgør med tidligere designideer. Wikipedia Less is more vs Less is a bore, Robert Venturi
Raymond Loewy MAYA (Most Advanced Yet Acceptable) How far ahead can the designer go stylewise? This is the all-important question, the key to success or failure of a product. Its satisfactory solution calls for an understanding of the tastes of the American consumer. R. Loewy: Never Leave Well Enough Alone, p. 178
Greyhound Lines bus design, 1940
Pennslyvania Railroad's GG1 Locomo^ve, 1935
Fra 15.000 ^l 275.000 på 5 år Coldspot Refridgerator, 1935
Raymond Loewy MAYA (Most Advanced Yet Acceptable) How far ahead can the designer go stylewise? This is the all- important ques^on, the key to success or failure of a product. Its sa^sfactory solu^on calls for an understanding of the tastes of the American consumer. R. Loewy: Never Leave Well Enough Alone, p. 178
Strategisk design
Raymond Lowey, 1942
Walter Dorwin Teague Grafisk designer Eastman Kodak Texaco 1883-1960
What Apple learned from Kodak
Did Apple steal the idea from Kodak? Not at all. Was Apple aware of the Vanity Kodak, and the what and the how of Teague s contribu^on? Without a doubt: Jonathan Ive is an outstanding designer, and the Vanity Kodak is one of the classic examples in the history of industrial design. What Apple did was learn from history, and adopt, adapt, and assimilate past success to current context. That is simply good, intelligent design in ac^on. It is also a very good lesson: an obsession with the new and original, without a deep literacy and apprecia^on for the past, leads to a path of missed opportuni^es. Bill Buxton
Bantam Special, 1936
Norman Bel Geddes Patriot Radio, 1940
Henry Dreyfuss The Measure of Man, Human factor / human- centered design Bell Telephone, 1937
Henry Dreyfuss
Streamline som symbolsk sprog Formen rummer al^d en symbolsk merbetydning Designobjekter vil al^d udtrykke bestemte designideologier, kommercielle interesser, brand betydning, m.v. Overtale os ^l at falde ind i rollen som forbruger
Citroën DS (fr. déesse, deïté) Guddommelig organisme Form glathed Citroën DS Roland Barthes: Mytologier, 1957
Hovedtræk Dråbeformer og aerodynamiske former Undgår skarpe kanter Symbolske udtryk for fart, fremskridt, det frie valg og den moderne amerikanske livss^l Dekomponerer ikke objektet i geometriske grundformer som Bauhaus men søger enheden i et aerodynamisk hele Forbruger- og brandorienteret (MAYA)
På mandag I arbejder ligesom sidste mandagmed jeres designobjekt Redesign objektet ^l streamline
Eliot Noyes Organic Design in Home Furnishing Selectric I, IBM 23 July 1961