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Design Vs Styling
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  • 1. design theory. 2
  • 2. Design versus Styling
  • 3. design vs styling This whole question of design versus styling is one that comes up frequently. But do we really know, the real meaning and implications of design and styling…
  • 4. design vs styling This class is about design, itʼs not about style, as I like to make the distinction, not because, there is a need for debate, but rather a desire for clarity on my part.
  • 5. design vs styling What does a designer do? It seems more and more people these days are designers. Graphic Designers, Web Designers, Flash Designers, Designer Managers... but it seems that a large percentage of these are fallout of the 80's "Designer Clothes" syndrome - fashion, never function.. Frankly, I feel that a lot of the "designers" out there never think about design, and are too carried away with their fashion vision.
  • 6. design vs styling People think that design is styling. Design is not style. It's not about giving shape to the shell and not giving a damn about the guts. Good design is a renaissance attitude that combines technology, cognitive science, human need, and beauty to produce something that the world didn't know it was missing. Paola Antonelli (curator of architecture and design, Museum of Modern Art, New York)
  • 7. A bit of history.........
  • 8. styling BIRTH OF AMERICAN INDUSTRIAL DESIGN (Styling) Mass production required mass consumption, and designers strengthened sales by improving the look and the function of products.
  • 9. styling
  • 10. styling A look at some of the social myths......
  • 11. styling
  • 12. styling The challenge for the first electricity producers was to increase consumption in the daily off-peak valleys of demand during the middle of the day. Otherwise their whole expensive technical infrastructure sat idle.
  • 13. styling Owners with large investments in electrical generating equipment and distribution networks had their interests served by women turning on their electrical appliances.
  • 14. styling Whose actual labour was to be saved? At first the work of maids employed in upper middle class homes. But domestic servants were a vanishing occupation. A better strategy was to conceptualize the new machines as mechanical servants capable of "freeing up" the homemaker's time. In fact women soon found themselves using appliances to do work previously done mostly by domestics or simply not done at all.
  • 15. styling The myth of the "new women", liberated by technology was essentially created by advertising to sell new appliances. The truth was that women became servants to the new machines they had been convinced to own. You might ask yourself whether computers are doing the same to you?
  • 16. 1929 The great depression
  • 17. styling BIRTH OF AMERICAN INDUSTRIAL DESIGN (Styling)
  • 18. styling BIRTH OF AMERICAN INDUSTRIAL DESIGN (Styling) Industrial design, or rather the styling in America was the product of the depression. He developed from the big economic crisis of 1929, as an answer to the slump of manufactured goods.
  • 19. styling THE POPE OF AMERICAN INDUSTRIAL DESIGN (Styling) Raymond Loewy
  • 20. styling Function is out. Form is in. Raymond Loewy is recognized as the father of Industrial Design. Designers and artists are returning to Loewy for guidance and inspiration.
  • 21. styling Raymond Loewy Raymond Loewy tired of commercial illustration and wanted to make use of his engineering talents to improve Americaʼs well-made but unattractive products. He became, with Walter Dorwin Teague, Henry Dreyfuss, and others, a pioneer in the new field of industrial design consultants in the late 1920s.
  • 22. styling Raymond Loewy In 'the ugliness is sold badly' same Loewy wrote: «the massive production of a same product, in great series by a powerful company for a long period gives him the value of a standard and the public accepts it like criterion of silhouette and style.»
  • 23. styling Raymond Loewy In 'the ugliness is sold badly' same Loewy wrote: «For a large company, a small innovation is a great step ahead extremely risky (...) the consumer hesitates between two opposite factors: attraction for the innovation, resistance to the familiar one:» That dates from the Thirties...
  • 24. styling Raymond Loewy Raymond Loewy invents, without knowing it, the basic marketing method of Global economy: " MAYA " rule, Most advanced, yet acceptable.
  • 25. styling Raymond Loewy Lowest common denominator to the various populations, it is the base of the world merchandizing, there, the management of the common basic needs is thus installation: fast-food, Coke, motor, and tv which subjugated the brain and cements the whole.
  • 26. styling Raymond Loewy With use, this idea of modern marketing becomes « you like obviously, only what you know » or « one will make you absorb that what you can absorb all together. », and, Maya rule becomes: “Very acceptable if not too much advanced ”. All the more acceptable since that does not disturb anybody.
  • 27. styling Raymond Loewy The same Loewy by inventing the total look standard bottle of Coke, gives to the objects the look "users friendly", friends of those which use them, the base of the American Design.
  • 28. styling Probably the most widely known US industrial designer. Born in Paris in 1893, and as a 15-year old boy, designed a rubber-band powered model airplane, the Ayrel, patented it, and formed a company to produce quantities in rented space. He studied engineering 1910-1914.
  • 29. styling He served in French army in WWI and arrived in US in 1919. Worked as fashion illustrator for Vogue and Harper's Bazaar, and designed costumes for Florenz Ziegfeld.
  • 30. styling Opening his own office in 1929, his first product assignment was a duplicating (mimeograph) machine for Gestetner, which was introduced in 1933 and featured in a 1934 Fortune magazine article about the new profession of industrial design.
  • 31. styling Raymond Loewy was the most prominent American industrial designer of the 20th century. As he once said, his firms created everything from lipsticks to locomotives including spaceship.
  • 32. styling Raymond Loewy: Designs for a Consumer Culture, was recently described by the Philadelphia Enquirer as “one of the most enjoyable exhibitions of its kind that one could expect.
  • 33. styling everything from lipsticks to locomotives
  • 34. styling everything from lipsticks to locomotives
  • 35. styling everything from lipsticks to locomotives
  • 36. styling everything from lipsticks to locomotives
  • 37. styling everything from lipsticks to locomotives
  • 38. styling everything from lipsticks to locomotives
  • 39. styling The pioneers of Styling Harold Van Doren, Norman Bel Geddes, Russel Wright, Henry dreyfus, Donald Deskey et Walter Dorwin Teague were the other pioneers of the design, or rather of Styling in the USA It is significant to see that they came all either of theatrical decoration, or of the sector of the illustration and advertising.
  • 40. styling The pioneers of Styling "Industrial design is the operation of analysis, creation, and development of products for a mass production. The purpose is to create shapes in the insured success even before an important investment was granted, shapes fabricated for a price allowing a vast distribution and reasonable profits." Harold Van Doren
  • 41. styling Philosophy From the birth of styling in USA during the thirties, Design is just creating sign and illusion and push to over consumption and over production of useless products.
  • 42. styling Philosophy This vision of Style-Design or Design marketing (from USA) has essentially an mercantile purpose, of which only philosophy is profit. This in the unique purpose to draw the attention of the buyers to increase sale. More Design ! More Production ! More sales !
  • 43. styling Design became one of the most powerful forces in our societies, and itʼs actually a form of politics itself, with a clear agenda: «The promotion of consumer capitalism.»
  • 44. styling mindset To be someone, you need to have something….
  • 45. styling a victor papanek quote : There are professions more harmful than industrial design, but only a very few of them. And possibly only one profession is phonier. Advertising design, in persuading people to buy things they donʼt need, with money they donʼt have, in order to impress others who donʼt care, is probably the phoniest field in existence today. Industrial design, by concocting the tawdry idiocies hawked by advertisers, comes a close second.
  • 46. styling a victor papanek quote : Never before in history have grown men sat down and seriously designed electric hairbrushes, rhinestone-covered shoe horns, and mink carpeting for bathrooms, and then drawn up elaborate plans to make and sell these gadgets to millions of people.
  • 47. styling a victor papanek quote : Before (in the “good old days”), if a person liked killing people, he had to become a general, purchase a coal mine, or else study nuclear physics. Today, industrial design has put murder on a mass-production basis.
  • 48. styling a victor papanek quote : By designing criminally unsafe automobiles that kill or maim nearly one million people around the world each year, by creating whole new species of permanent garbage to clutter up the landscape, and by choosing materials and processes that pollute the air we breath, designers have become a dangerous breed. And the skills needed in these activities are carefully taught to young people.
  • 49. Paola Antonelli (curator of architecture and design, Museum of Modern Art, New York)
  • 50. design BIRTH OF EUROPEAN INDUSTRIAL DESIGN Weimar 1919 foundation of Bauhaus.
  • 51. design “Design always spring from idea, it is the form given to an idea” Emmanuel Dietrich
  • 52. design BIRTH OF EUROPEAN INDUSTRIAL DESIGN
  • 53. design BIRTH OF EUROPEAN INDUSTRIAL DESIGN Let us desire, conceive, and create the new structure of the future together. It will combine architecture, sculpture, and painting in a single form, and will one day rise towards the heavens from the hands of a million workers as the crystalline symbol of a new and coming faith. WALTER GROPIUS (from the manifesto)
  • 54. design BIRTH OF EUROPEAN INDUSTRIAL DESIGN
  • 55. design BIRTH OF EUROPEAN INDUSTRIAL DESIGN The theory of functionalism strongly represented by the European Design, the orientation toward technology, and systematic thinking had their effect on mass production and brought about a rectangular formalism in both architecture and design.
  • 56. design A FIGURE OF EUROPEAN DESIGN
  • 57. design A FIGURE OF EUROPEAN DESIGN Dieter Rams German designer and architect, a central figure in design history: creator of the ʻbraunʼ style.
  • 58. design Dieter Rams
  • 59. design Dieter Rams Dieter Rams was born may 20, 1932 in wiesbaden, germany. in 1947 he enrolled in architecture at the 'werkkunstschule wiesbaden', after which he left school and learned the carpenterʼs trade.
  • 60. design Dieter Rams
  • 61. design Dieter Rams in 1955 he got a job as an architect and interior designer for braun, founded in 1921 by max braun, and in 1956 he began to design products for them. in 1961 he became the head of the product design and development division at ʻbraunʼ.
  • 62. design Dieter Rams
  • 63. design Dieter Rams As head of design at Braun, the German consumer electronics manufacturer, DIETER RAMS (1932-) emerged as one of the most influential industrial designers of the late 20th century by defining an elegant, legible, yet rigorous visual language for its products.
  • 64. SIMPLY DESIGN ....
  • 65. SIMPLY DESIGN .... Good design is innovative Good design enhances the usefulness of a product Good design is aesthetic Good design makes a product understandable and heightens the quality of self explanation Good design is unobtrusive Good design is honest Good design is enduring Good design is consistent to the last detail Good design is environmentally friendly Good design is as little design as possible Dieter Rams,
  • 66. SIMPLY DESIGN .... These ten principles defined Dieter Ramsʼ approach to “good design”. Each of the hundreds of products he developed during forty years with Braun, was unerringly elegant and supremely versatile. Units were made in modular sizes to be stacked vertically or horizontally.
  • 67. SIMPLY DESIGN .... Buttons, switches and dials were reduced to a minimum and arranged in an orderly manner. Rams even devised a system of colour coding for Braunʼs products, which were made in white and grey. The only splash of colour was the switches and dials.
  • 68. design Dieter Rams’ approach to “good design”
  • 69. design Dieter Rams’ approach to “good design”
  • 70. design Dieter Rams’ approach to “good design”
  • 71. design Dieter Rams’ approach to “good design”
  • 72. design Dieter Rams’ approach to “good design”
  • 73. design Dieter Rams’ approach to “good design”
  • 74. design Dieter Rams’ approach to “good design”
  • 75. design Philosophy The European vision of Design is humanist, focus on the improvement of the social quality of life and well being of the individual to make the humankind survive. The peoples are considered mores as individual than a consumer. Less Design ! Less Production ! Better Life !
  • 76. design vs styling What make the difference between Design and styling ? It is about the way to shape the product......
  • 77. design vs styling In a way yes ! The styling shape the product in emotional way, and the form doesnʼt have any real connection with the structure and the the function of the object. It is a kind of makeup to make the object pretending it is something else........ Form follows emotion, but not only emotion connecting with the object...
  • 78. design vs styling The Design shape the product in functional and structural way, and the form is in connection with the structure and the the function of the object. Form follows function and emotion, but only emotion connecting with the object...
  • 79. design vs styling The difference between Design and styling is not much about what and how but about why......
  • 80. design vs styling styling "the form which generate sell", it can be summarized by "make-up the shell", "re-look" the object to make it more attractive. while the practice of design takes account of the relations between structure, function and form with technical, social, cultural, economic and environmental issues.
  • 81. Art Design Styling Industry Commerce
  • 82. Design or Styling
  • 83. Design or Styling
  • 84. Design or Styling
  • 85. Design or Styling
  • 86. Design or Styling
  • 87. Design or Styling