This document discusses the book "100 Ideas That Changed Design" by Charlotte and Peter Fiell. It provides commentary on some of the key ideas discussed in the book, including innovation, luxury, design education, design reform, morality, design rhetoric, vernacularism, Gesamtkunstwerk, ornament and crime, purity, rationalism, and new objectivity. Many of these ideas helped shape the modern design movement by focusing on simplicity, functionality, and rejecting ornamentation in favor of clean geometric forms. The document also notes some of the political influences and goals of early modern design groups.
The movement strives to express universal concepts through elimination, reduction, abstraction, simplification, and a dynamic asymmetrical balance of rectangles, planes, verticals, horizontals, the primary colors, and black, white, and gray.
The movement strives to express universal concepts through elimination, reduction, abstraction, simplification, and a dynamic asymmetrical balance of rectangles, planes, verticals, horizontals, the primary colors, and black, white, and gray.
Trabalho acadêmico para a Faculdade de Estudos Avançados do Pará - FEAPA, sobre os movimentos do design gráfico.
Este é sobre o movimento High Tech, produzido pela aluna e Art Déco Lila Quezada.
Esta presentación es un recorrido visual, a través de los movimientos y escuelas de diseño más importantes de los siglos XIX y XX. Vienen acompañadas de unas breves notas, sobre las características más relevantes de cada movimiento o escuela.
Structuralism is a mode of thinking .pptxseyefeselasse
Structuralism is a mode of thinking and a method of analysis practiced in 20th-centurysocial sciences and humanities. Methodologically, it analyses large-scale systems by examining the relations and functions of the smallest constituent elements of such systems, which range from human languages and cultural practices to folktales and literary texts.
Trabalho acadêmico para a Faculdade de Estudos Avançados do Pará - FEAPA, sobre os movimentos do design gráfico.
Este é sobre o movimento High Tech, produzido pela aluna e Art Déco Lila Quezada.
Esta presentación es un recorrido visual, a través de los movimientos y escuelas de diseño más importantes de los siglos XIX y XX. Vienen acompañadas de unas breves notas, sobre las características más relevantes de cada movimiento o escuela.
Structuralism is a mode of thinking .pptxseyefeselasse
Structuralism is a mode of thinking and a method of analysis practiced in 20th-centurysocial sciences and humanities. Methodologically, it analyses large-scale systems by examining the relations and functions of the smallest constituent elements of such systems, which range from human languages and cultural practices to folktales and literary texts.
ZAHA HADID
"Only rarely does an architect emerge with a philosophy and approach to the art form that influences the direction of the entire field. Such an architect is Zaha Hadid..." -- Bill Lacy, architect
DECONSTRUCTIVISM
Started in the 1980’s
It views architecture in bits and pieces.
have no visual logic
Buildings may appear to be made up of abstract forms.
More than we say free flow of forms
Ideas were borrowed from the French philosopher, Jacques Derrida.
Excerpts from the book: Heller, S., Talarico, L. (2009). Design School Confidential: Extraordinary Class Projects From the International Design Schools. United States: Rockport Publishers.
Brecht, B. (1978). Brecht on Theatre: The Development of an Aesthetic. United Kingdom: Hill and Wang.
Epic Theatre
Alienation Effect
The Instructive Theatre
Theatre and Knowledge
Experimental Theatre
Rational and Emotional
Elements of Illusion
Simulation (or Computation) and its DiscontentsR. Sosa
20+ key ideas from Sherry Turkle's 2009 book. Highly recommended.
Funny how Slideshare forces people to pick one category for a presentation. This is as much about design as it is about education, technology, etc.
Van aquí fragmentos de este libro escrito por el gran Adolfo Sánchez Vázquez y publicado en 1965 con algunas ideas que con los años se han hecho cada vez MÁS relevantes e importantes para entender el diseño. Queda mucho por hacer para conectar estas ideas y desarrollarlas, mucho ha pasado en estos 80 años.
Key excerpts from the book “Māori Philosophy, Indigenous Thinking from Aotearoa” by Georgina Tuari Stewart, 2021. Chapter 5 is succinct but highly recommended
Hello everyone! I am thrilled to present my latest portfolio on LinkedIn, marking the culmination of my architectural journey thus far. Over the span of five years, I've been fortunate to acquire a wealth of knowledge under the guidance of esteemed professors and industry mentors. From rigorous academic pursuits to practical engagements, each experience has contributed to my growth and refinement as an architecture student. This portfolio not only showcases my projects but also underscores my attention to detail and to innovative architecture as a profession.
White wonder, Work developed by Eva TschoppMansi Shah
White Wonder by Eva Tschopp
A tale about our culture around the use of fertilizers and pesticides visiting small farms around Ahmedabad in Matar and Shilaj.
Unleash Your Inner Demon with the "Let's Summon Demons" T-Shirt. Calling all fans of dark humor and edgy fashion! The "Let's Summon Demons" t-shirt is a unique way to express yourself and turn heads.
https://dribbble.com/shots/24253051-Let-s-Summon-Demons-Shirt
Can AI do good? at 'offtheCanvas' India HCI preludeAlan Dix
Invited talk at 'offtheCanvas' IndiaHCI prelude, 29th June 2024.
https://www.alandix.com/academic/talks/offtheCanvas-IndiaHCI2024/
The world is being changed fundamentally by AI and we are constantly faced with newspaper headlines about its harmful effects. However, there is also the potential to both ameliorate theses harms and use the new abilities of AI to transform society for the good. Can you make the difference?
1. 100 IDEAS THAT CHANGED
DESIGN
C H A R L O T T E & P E T E R F I E L L
Excerpts and commentary by Dr Ricardo Sosa ricardo.sosa@sydney.edu.au
2. Charlotte and Peter Fiell are the authors of over 20 books on design and the visual arts,
including The Story of Design, Designing the 21st Century and the bestselling 1000 Chairs.
https://www.laurenceking.com/products/100-ideas-that-changed-design
3.
4.
5. •“These are the big ideas in design that have
improved our lives immeasurably”
•“There are certain types of design where
the primary function is to act as a vehicle
for conveying concepts, opinions or
propaganda”
•“Designs also embody the spirit of the time in which
they are created”
6. • “When we look at an object, we can read it as a veritable sign of the
times, an encapsulation of the ideas and ideals of the society that
created it”
•“A big idea must not only have had a
substantial impact when it first emerged but
also a certain ‘stickiness’, which means that its
influence has left an enduring legacy on the
practice of design”
7. • “[Future designs] will be premised on existing ideas and try to build
on them, or they will reject the status quo and seek radically new
approaches”
• “We need more intelligent design thinking to enable us to
solve the biggest problems we face, from global warming to
clean energy generation and overpopulation”
•“We also need innovative design ideas to
ensure that design remains the vital civilizing
force it has always been”
9. Innovation
• The concept of innovation has long motivated designers to believe
that there is always a better way of doing things. Innovation in
design is also often driven by entrepreneurship –the belief that
monetary gain can be achieved by coming up with a new invention
•Design is what gives their product offerings the all-
important differentiating ‘wow’ factor, and
engenders an owning lust among potential buyers
and brand loyalty among existing customers.
10.
11.
12. Luxury
• Although the early pioneers of the Modern Movement
were primarily concerned with democratic design and
utility, in certain circles modernity was eventually
connected to luxury with the furniture and interiors by
Le Corbusier and Eileen Gray, among others,
epitomizing this modish appropriation.
13.
14.
15. Design education
• By the early XIX century there were a number of design-led
trade schools in Continental Europe, and this prompted the
establishment in Britain of the country’s first dedicated
design-teaching institution in 1837, the Government School
of Design, originally located in London’s Somerset House.
Eventually the school was moved to South Kensington and
renamed the Royal College of Arts.
• The founding of the Staatliches Bauhaus in 1919 pulled
design education into the modern age.
16.
17. Design reform
• William Hogarth’s book ‘The Analysis of Beauty’ (1753) argued that
functional considerations should guide the design of objects rather
than the use of applied decoration. The 1851 Great Exhibition in
London became a veritable showcase of overblown decoration –
fussily decorated domestic products
• The concept of an instructive good-versus-bad design museum:
• Marlborough House in Pall Mall in 1852 → V&A Museum in London
• Deutscher Werkbund in Munich in 1907
• Deutsche Museum fur Kunst in Handel und Gewerbe → Museum der Dinge
in Berlin
18.
19.
20.
21. Morality
•There is nevertheless widespread general agreement
about what constitutes good design, which is based
on a set of ethical principles
• Augustus Pugin’s ‘Contrasts, or a Parallel between the Architecture of the 15th and 19th
Centuries’; the idea that a design style could have a moral underpinning was strengthened by
John Ruskin. It was William Morris who sought through a design reform ‘a holy crusade against
the age’
•The One Laptop Per Child is perhaps the best
contemporary example of how morally driven design
can make a hugely positive impact on people’s lives.
22.
23. Design rhetoric
•All designs express innately the beliefs,
aspirations and values of their creators
• Design rhetoric is focused on the idea of how a design can
pose a form of argument based on its persuasiveness
•Through the act of acceptance –by means of
use or purchase- you are ultimately casting a
vote for those values
24.
25.
26. Vernacularism
• Different places have evolved their own particular language of design for
objects of everyday use
•‘Provincial’ in the truest sense of the world.
They are not driven by commercial imperative
or even necessarily aesthetics
• One of the first to realize the worth of such designs was William Morris. Scandinavian
designers often sought inspiration from their indigenous folk-design roots, as well as
those of other countries
• Designers are now reassessing the inherent values found in local craft
production and attempting to channel these principles into their own
contemporary work
27.
28. Gesamtkunstwerk
• First coined by Karl Friedrich Eusebius Trahndorff in 1827 describes
a ‘total work of art’ that seeks to bring together elements of various
artistic disciplines
• Richard Wagner believed that the fragmentation of the arts since
Ancient Greek times had been a stultifying influence and that the
only remedy was the synergetic integration of the artistic disciplines
• Wagner’s Der Ring des Nibelungen integrated music, singing,
costume, set design and drama into a revolutionary new and
monumental art form
29.
30. Ornament and crime
•Adolf Loos in ‘Ornament and Crime’ in 1908:
decorative embellishment equated to criminality
• Loos famously ranted ‘the modern man who tattoos himself is either a criminal
or a degenerate; the tattooed who are not in prison are latent criminals or
degenerate aristocrats’
•Louis Sullivan ‘Ornament in Architecture’ an article
for The Engineering Magazine in 1892
31.
32. Purity
• The purification of form through the purging of any superfluous
ornament and, as a result, objects that display a structural purity
•The purity of form found in Japanese design
had a major influence on the early foundations
of the Modern Movement
• Christopher Dresser, the first to create Western designs intended for
mechanized production based on Eastern purifying aesthetics. Minimalism in
the early 1970s most notably in the furniture of Donald Judd
33.
34. Rationalism
• Views scientific reason as the only true source of knowledge;
one of the main driving forces behind the Modern Movement.
Vitruvius ‘De architectura’ c.27 BC laid out the arguments for
why the status of architecture should be raised to that of a
scientific discipline
• In America during the 1910s rationalism took off within the realms of design
and manufacturing thanks to the adoption of Taylorism and Fordism. The New
Objectivity movement in Germany in the 1920s, a rationalist approach as a
means of building a better and fairer society. Italian Rationalism typified by
state-of-the-art materials and strict geometric vocabulary of form initially
favoured by the Fascists
35.
36. New objectivity
• Walter Gropius explained the intention to ‘provide artistic services
to industry, trade and craft’. As a way of achieving this goal, the
Bauhaus innovatively unified the teaching of art and technology
• The Russian Constructivists and the De Stijl group, these avant-garde design
groups produced work that expressed a new form-purifying aesthetic based on
geometric abstraction which would go on to become a defining characteristic
of the Modern Movement
• New Objectivity’s political radicalism and utopian goals
would go on to shape the Modern Movement ideologically
as it transitioned into the International Style
40. 100 IDEAS THAT CHANGED
DESIGN
C H A R L O T T E & P E T E R F I E L L
A VERY SPECIFIC, HEGEMONIC TYPE OF
Excerpts and commentary by Dr Ricardo Sosa ricardo.sosa@sydney.edu.au