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Industrial Design
- Thread starter softgrey
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travolta said:
Those are adorable!
Do you know where they're sold? Stamp Cup by Valeria Miglioli & Barnaby Barford
Those irritating ringmarks that mugs and cups leave..... well, you can turn them into a nice floral pattern now with a set of Stamp Cups. The pattern on the base of the cup match up so you can join as many marks as you want.
Set of two mugs £29.00
www.thorstenvanelten.com
i_<3_chanel
elementary.
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haha. i love the idea behind the stamp mugs !
so cute.
so cute.
Industrial designers need to question why they are creating what they're designing and find ways to successfully communicate the benefits of their designs. Many of the designs posted here are beautiful and mark higher level trends that are taking place; but many of these designs seem (at first take) overly form driven or aestheticly driven. There are benefits, there are reasons that these are designed they way they are. --these designs---the one's that we as designers covet--do not speak to the general public because the designers behind them to do not speak to the public. In order for design to have a real social impact it needs to communicate successfully to consumers. That is true industrial design. Unfortunately, the designs that do get through to the masses are products like the Hummer. Or other equally destructive products--these products are created and marketed in a way that regular people can understand. There is a true gap between designers designing for other designers versus designing for real people. It is only when your forms or products can speak to the general public that true social movements can take place.
D
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Mr-Dale said:
The De Stijl designs Rietveld did actually go back to 1918 (the red and chair) and the 1924 (the schroeder house
Nemesis said:
I smell another intellectual TFSer. Welcome
I must disagree with you, however. True designers aren't driven by trends. True designers aren't driven by mass marketing. True designers don't get into design to sell. They are driven by aesthetics - and form takes function. Most designers do not cater to the mass market, the mass market wants frilly, comfortable design - most designers create a few pieces that are well loved by the masses in general, but for the most part create thigns that are not of that style because of the aesthetics that seem to contradict the common flow.
glad you liked arturo and lux 
lux the salt and pepper shakers are called snowman! i find it endearing only one has a mouth and the other one is missing...
you can buy them here http://www.authentics.de/
lux the salt and pepper shakers are called snowman! i find it endearing only one has a mouth and the other one is missing...
you can buy them here http://www.authentics.de/
Arturo21 said:I smell another intellectual TFSer. Welcome
I must disagree with you, however. True designers aren't driven by trends. True designers aren't driven by mass marketing. True designers don't get into design to sell. They are driven by aesthetics - and form takes function. Most designers do not cater to the mass market, the mass market wants frilly, comfortable design - most designers create a few pieces that are well loved by the masses in general, but for the most part create thigns that are not of that style because of the aesthetics that seem to contradict the common flow.
Thanks for the welcome Arturo21, these are my first posts...
I totally understand where you're coming from, and i agree that designers don't get into design to sell. Designers, i dont think, are driven by aesthetics either. That is where the line between art and design can be drawn (albeit a blurry line). Designers are inherently problem solvers. The mass market doesnt want frilly, comfortable design. The mass market doesnt know what they want. When you watch regular people interact with the objects in their home you can really start to understand what they have vs. what they actually want/need--or how they behave with an object vs. how they may have been intended to behave with an object. It is our job as designers to understand these relationships and find solutions that truely address issues that a user may have created workarounds for.
Style and aesthetics are important. In products, as in fashion, they speak to the user first. Aesthetics are the designer's voice. It is important to understand who you are speaking to and what tone you choose so that you do not lose your audience.
^I assume this, all you have said here, represents the blurry line. Design, for me at least, is an art. Not the same art as Fine Art, but it is an art. Designers are aesthetes, for the most part, otherwise I don't consider them designers - I consider them engineers, or the like. I believe most designers don't speak to the general public, they only speak to a select few, mainly aesthetes like the designers themselves. Let's take Boffi for an example, the designers know that the general public won't have such minimal design in their homes. The general masses want what they can find at Haverty's. Classic design. Most designers, however, don't necessarily create classic designs. Those are out. I've never seen a green Chenille couch with marroon and gold floral patterned pillows with a silver edge be considered industrial design, for example.
Designers create somethign with their "aesthetic intuition", and, as I have said (And I know I"m quoting a famous designer, just can't remember who
) -form (the aesthetic aspect) takes function...
Voila. It works, and it's beautiful.
Great points. I hope you post more often here and in the general designers forum
Designers create somethign with their "aesthetic intuition", and, as I have said (And I know I"m quoting a famous designer, just can't remember who
) -form (the aesthetic aspect) takes function...Voila. It works, and it's beautiful.
Great points. I hope you post more often here and in the general designers forum
I think there are two main schools of thought on the form vs. function argument. A lot of designers at the moment choose aesthetics over function, sometimes to the extent that the product is almost unusable, like the Hot Berta kettle. They tend to embrace either extremely minimal, or slightly eccentric designs, sometimes with period/retro influences. They generally come from more art-based training and backgrounds and create very high-end products, sometimes without a great deal of thought about the need for them.
Then there is also a function driven type of designer, with more engineering based backgrounds, such as James Dyson. They try to produce items that solve problems, rather than simply look better than, or different to existing products.
I'm currently looking at university courses for industrial and product design, and, at least in Britain, there are 3 distinct routes that you can take. The first is engineering at a traditional university, maybe followed by postgraduate research into more industrial design based projects. The second is taking a product design course at an art college, with more emphasis on art and aesthetics.
The final choice is an industrial/product design at a traditional university. There are design and technology departments rapidly emerging at many UK universities, with courses that blend the two elements, as well as much more focus on design as a social science.
The third choice comes along with a new focus on training specifically for industrial design, where previously it was artists and architects. It places more emphasis on a product, with a need, designed to solve a problem. The problem needs to be solved, sustainably, and the designer needs to know about both engineering and aesthetics in order to be able design an item that is aesthetically appealling, but also to be able to design a product that will work, will survive daily use, will meet required standards, and can be produced using a suitable method. I see this as the way that designers, in the next few generations will be adopting more and more, out of necessity.
The designer has to be able to consider every part of the product, how it fits together, how each park works, and how each part is made, so that they can explain it to the engineer responsible for making it. They also need to consider the impacts of the product. The materials that go into it, do they come from a renewable source? Are they recyclable? The energy that goes into it. Is production energy efficient? Does the product use energy efficiently? There is the entire product lifecycle to analyse: Can it be repaired or reconditioned? Can it be recycled, and how easily?
Factors like function, production, sustainability and design for disassembly mean that modern, responsible designers have to know how a product will be made, and what it will be made of, in order to design it properly. Pure aesthetics cannot be enough for good design.
Then there is also a function driven type of designer, with more engineering based backgrounds, such as James Dyson. They try to produce items that solve problems, rather than simply look better than, or different to existing products.
I'm currently looking at university courses for industrial and product design, and, at least in Britain, there are 3 distinct routes that you can take. The first is engineering at a traditional university, maybe followed by postgraduate research into more industrial design based projects. The second is taking a product design course at an art college, with more emphasis on art and aesthetics.
The final choice is an industrial/product design at a traditional university. There are design and technology departments rapidly emerging at many UK universities, with courses that blend the two elements, as well as much more focus on design as a social science.
The third choice comes along with a new focus on training specifically for industrial design, where previously it was artists and architects. It places more emphasis on a product, with a need, designed to solve a problem. The problem needs to be solved, sustainably, and the designer needs to know about both engineering and aesthetics in order to be able design an item that is aesthetically appealling, but also to be able to design a product that will work, will survive daily use, will meet required standards, and can be produced using a suitable method. I see this as the way that designers, in the next few generations will be adopting more and more, out of necessity.
The designer has to be able to consider every part of the product, how it fits together, how each park works, and how each part is made, so that they can explain it to the engineer responsible for making it. They also need to consider the impacts of the product. The materials that go into it, do they come from a renewable source? Are they recyclable? The energy that goes into it. Is production energy efficient? Does the product use energy efficiently? There is the entire product lifecycle to analyse: Can it be repaired or reconditioned? Can it be recycled, and how easily?
Factors like function, production, sustainability and design for disassembly mean that modern, responsible designers have to know how a product will be made, and what it will be made of, in order to design it properly. Pure aesthetics cannot be enough for good design.
I agree with the very last statement. However, pure engineering is not design, so why is it considered such?
The two should be combined, but I believe if you're going to be a designer, you might as well focus on aesthetics.
The two should be combined, but I believe if you're going to be a designer, you might as well focus on aesthetics.
Engineering involves design. An engineer will design a bridge, because he knows what can be done, and what will work. However, pure engineering is not design, but it helps design. It is a route that some people do take into design, along with additional training. In many fields of design it can give huge advantages, much more knowledge of mechanics and the properties and abilities of materials and constructions.
You can focus on aesthetics, but if you look only at aesthetics you'll never design anything truely great, a combination of both produce the very best products, those that become cult items.
You can focus on aesthetics, but if you look only at aesthetics you'll never design anything truely great, a combination of both produce the very best products, those that become cult items.
paullw, very good posts. i agree that sustainable design is inevitable--parts of europe are definately ahead of the us in terms of environmental policies. eventually, (i'm not sure how near future) it will become widespread thereby forcing designers, and design curriculums to change. my alma mater was one of the more strict followers of the bauhaus program, and in retrospect, i realize just how archaic it was. instead of filing steel blocks for hours on end, an ethics course and a manufactoring techniques course that focused on global issues would have been much more useful. in the end, necessity drives industrial design. i once had a teacher who asked us how someone in a third world country would go about constructing a chair if he only had practical materials, and he used the example of a large amount of rope. my teacher's answer was he'd probably do it in the most logical, most unelegant way possible out of necessity. but that, in the end, is better design than most grad student work because in that context it simply, directly solves a problem and is also aesthetically pleasing if you apply the principle form meets function.
anyways, you guys have to read design for the real world: human ecology and social change by victor papanek. it is incredibly informative, and surprisingly not as dry as one would assume, and it's only $16.50 at amazon. go buy it!
i agree that sustainable design is inevitable--parts of europe are definately ahead of the us in terms of environmental policies. eventually, (i'm not sure how near future) it will become widespread thereby forcing designers, and design curriculums to change. my alma mater was one of the more strict followers of the bauhaus program, and in retrospect, i realize just how archaic it was. instead of filing steel blocks for hours on end, an ethics course and a manufactoring techniques course that focused on global issues would have been much more useful. in the end, necessity drives industrial design. i once had a teacher who asked us how someone in a third world country would go about constructing a chair if he only had practical materials, and he used the example of a large amount of rope. my teacher's answer was he'd probably do it in the most logical, most unelegant way possible out of necessity. but that, in the end, is better design than most grad student work because in that context it simply, directly solves a problem and is also aesthetically pleasing if you apply the principle form meets function. anyways, you guys have to read design for the real world: human ecology and social change by victor papanek. it is incredibly informative, and surprisingly not as dry as one would assume, and it's only $16.50 at amazon. go buy it!
ok, i feel like i should post a bit from this book...
the following refers to a list of inhibitors that keep us from solving tasks in new and innovative ways. i singled out cultural blocks which are imposed on an individual by his surroundings.
now if that doesn't start to get you thinking about how beneficial it is to look outside oneself to make relevent design-i don't know what will
the following refers to a list of inhibitors that keep us from solving tasks in new and innovative ways. i singled out cultural blocks which are imposed on an individual by his surroundings.
now if that doesn't start to get you thinking about how beneficial it is to look outside oneself to make relevent design-i don't know what will
fourboltmain
More Old Skool Than You
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Good design needs of stand the test of time. Good design never goes out of style, good design doesn't need an explanation either. Craftsmanship and durability are as important as the design itself as well. A very good point was brought up about things that need to break down easily, who wants a desk that doesn't fit in their doorway?
Anyway, industrial design is rather soul-less at most times. The first part of the word is industry and that conjures up images of mass production. Mass production makes me think about the first ergonomically designed, mass produced thing: the rifle with interchangable parts.
I'm still torn at what I can define industrial design as. Is the chair at Ikea industrial design, or is it the electrical conduit pipe my friends bend by hand to decorate their garages because they're bored?
Is it my car? Or the custom made exhaust system? The chicken, or the egg?
Anyway, industrial design is rather soul-less at most times. The first part of the word is industry and that conjures up images of mass production. Mass production makes me think about the first ergonomically designed, mass produced thing: the rifle with interchangable parts.
I'm still torn at what I can define industrial design as. Is the chair at Ikea industrial design, or is it the electrical conduit pipe my friends bend by hand to decorate their garages because they're bored?
Is it my car? Or the custom made exhaust system? The chicken, or the egg?
http://www.hlb.com/inovlog/archives/2005/03/new_school.html#more
March 11, 2005
New School
Call me old school,..but every now and then I get this feeling that I need some one to poke me in the eye….please……
Usually if I have to read another article by a journalist who in a fit of cathartic euphoria, discovers that great design can be had by regular folks…...ok now wait for it,………..without having to pay a lot of money!
Like some modern day version of Prometheus*, designers are forced over and over again to nod politely, suffer the witty observations and acknowledge anew the eventual epiphany that some companies, by using the skills of industrial designers, can create really good pproducts.....
We see this article quite a lot every time design goes new school…
Here's another one,…..someone please poke me in the eye the next time the profession as a whole appears to discover that strategy, research and defining the problem are the new direction for the growth and salvation of design. If Charles Eames was here today and you said to him, or to Ray Eames, or to George Nelson or to Jay Doblin ……"you know the design profession really needs to focus on the strategic front end of design before executing solutions"…..I'm fairly certain the response would be a raised eyebrow and a bemused stare.
Design goes New School, vs Old school thinking:
Which is better?……either can be a compliment or a condemnation….man, that is so old school …. or check out that vintage Land Rover,,,that is so old school,,,,,means exactly the opposite thing.
New school - metallics.
Old school - metal
The process of design doesn't really change at its core but the tools and the methods are definitely updating…faster than predicted. So I started thinking about what it means to think new and old school……
Old school: immense pride in the ability to manufacture, most predominant in the post-World War II era when we were obviously shifting industrial manufacturing resources into product designs. Economy was great, people were driving cars with tail fins that looked like rocket ships, and drinking martinis at lunch was perfectly common. It was really a remarkable period of exuberance and that carried into the 60's as well.
True old school story - A classic about the Raymond Loewy office in New York. In a reflection by the writer Ogden Nash, the story goes that about midday one Friday the man in charge of the drinking water coolers in the Loewy office removed the water bottles, empty or not, and replaced them with gallon containers of martini, which was then available in Loewy's preferred mixture and chilled as necessary on tap all afternoon. Now it goes on to say that there's some question about the story being true because they couldn't figure out whether he was mixing his gin 6 to 1 or 10 to 1……,
New school - Ikea,Sony,Target, okay, they're making great inroads in championing design, and we have a lot more choices. If you don't like what Wal-Mart has, there's a Target on the corner next to it. But if you don't like what they have, you can go to or go on-line and buy from Ikea or the Sony store. Here's the difference, you walk through a Target and you still have to look for what's really well designed. You walk through an Ikea or a Sony store and you have to look for something that isn't …
New school- the I-pod
Old school - the I-Mac
New school - product lust, saved a corporation.
New school - "meeting the design police," a pejorative term for regulating the use of all sorts of dimples and waves .
Old school - modernism
New school - modern
New school - any publicity is good.
Old school - publicity is a double edge sword.
True old school story - By an associate of Raymond Lowey's regarding a visit in 1960 by Mr. Loewy to the ivory towers of International Nickel to discuss a design program with them. …"The potential fee was in the area of a quarter of a million dollars, which in 1960 was a considerable amount of money. Once we were seated Mr. Lacue (President of International Nickel) said, ‘before you begin we would like to show you this,’ and reaching into his desk drawer he took out a shirt cardboard to which was taped a newspaper clipping showing a car that Raymond Loewy had modified. The article had a printed comment that Loewy had eliminated many pounds of vulgar chrome from the design. I was stunned. I have no idea what Loewy said, but I can clearly recall the other voice saying ‘if that's your attitude regarding chrome how can you do a credible service to our company.’ We didn't leave with a contract, we left with our tails between our legs and we just left them hanging there."
New school story - Ring. "Hello Mr. Dziersk? I work for Candice Bergen's office in Hollywood and Joanie Mitchell just cancelled and she wondered if you could come out here tomorrow and talk to her about design." So I thought it was one of Elizabeth's (my wife) friends, you know, and I said sure, when would you like me there? They said, "can you be here at 10:00?" I said okay, how am I going to get there? They said "we'll have first class tickets waiting for you at O'Hare in the United terminal at 6:00, can you be there?" I said, fine, yeah.
Ten o’clock the next morning I'm in Hollywood sitting across from Murphy Brown and she says to me, the very first question out of the gate, "Mark, the Americans have always been known for having incredibly bad taste, the English call us necessary, but not vital, what's all this new interest in beautiful things?"
New school - promoting the profession
Old school - Streamlining or clean lining.
New school - Streamlining or clean lining
New old school - when industries are competing at equal price and functionality, design is the only differential that matters.
New school - incredibly tough competition
Old school - incredibly tough competition
New school - maybe it was the culture, maybe it was the space movement, maybe the war in Vietnam, but for design the 70's and 80's were very, very quiet decades with no real heroes.
New school - At a lecture at a business school in Chicago the other day, I asked these non-design educated people to do something for me before the talk, I said write down the three most famous industrial designers in the world today and they wrote down,..Steve Jobs, Bill Gates and Henry Ford.
Old school - In the 50's or 60's if you said "who was the best industrial designer in this country?" People would tick off Loewy or Dreyfus or Teague like we now recognize George Clooney or Madonna
New school - function is out, form is in. This kind of demeaned the profession for quite a lot of people. On the other hand we had twenty pages in Time magazine, which encouraged a lot of people to become interested in design and what's happening now in this new modern movement.
New Old school -the new Golden Age of design.
New Old school - I've been an industrial designer for more than 20 years and my mother still doesn't know what I do. For a living…
Old New school -the orchestrated influence of negative space in a silhouette can make a form aggressive or passive.
New school - the camera, after you use it, you give it back to your photofinisher, they crack it open, they take the film out, develop it and give you the pictures. The camera goes back to the company, most of the internal parts are stamped and reused. All that plastic gets ground up, you add some virgin resin to the regrind and the next camera is molded from the previous one…… so that the camera's life is a closed cycle between the company and the consumer….
Old school - take credit for a design without acknowledging other participation.
New school - They catch you not acknowledging people who have worked on a design that wins an award, they take the award back
New school - Your shirt and slacks will very soon LAN connect
New school - A water glass in a restaurant will inform the wait staff that you need a refill.
Cool,….I guess in the end, I'm going with New School….
I have a lot of faith that "new school thinking" and this current generation of designers will create a new generation of design heroes…. The time is certainly right for a new school of important young designers to emerge in the field…..
Last story. In a class I teach at Northwestern University on the essentials of product design, I use an article from Fortune Magazine written and published in 1937 that introduces the newly minted and labeled profession of Industrial Design to the world. It's called Fish or Fowl? It's an article worth getting your hands on. I came to find out later that none other than a young George Nelson ghost wrote it. The same George Nelson who went on to become the famous Industrial Designer and design writer.
I ask the students to also read two recent magazine cover stories on Design and compare the content and tenor of the two…It is a striking contrast. The earlier article focuses entirely on the idea of design as a profession, such as Law or Medicine, that can change the face of businesses and introduce processes resulting in ROI -- the latter two, both an expose on cool stuff and cool people….. Now while some might think of Mr. Nelson as "old school." Here's what is interesting for me …when I read his article, I don't feel like I need anyone to poke me in the eye…..
*The character in Greek mythology who was chained to a rock and had his liver plucked out by an eagle only to have it grow back and repeat the process the next day and the next…over and over again as penance for angering Zeus
March 11, 2005
New School
Call me old school,..but every now and then I get this feeling that I need some one to poke me in the eye….please……
Usually if I have to read another article by a journalist who in a fit of cathartic euphoria, discovers that great design can be had by regular folks…...ok now wait for it,………..without having to pay a lot of money!
Like some modern day version of Prometheus*, designers are forced over and over again to nod politely, suffer the witty observations and acknowledge anew the eventual epiphany that some companies, by using the skills of industrial designers, can create really good pproducts.....
We see this article quite a lot every time design goes new school…
Here's another one,…..someone please poke me in the eye the next time the profession as a whole appears to discover that strategy, research and defining the problem are the new direction for the growth and salvation of design. If Charles Eames was here today and you said to him, or to Ray Eames, or to George Nelson or to Jay Doblin ……"you know the design profession really needs to focus on the strategic front end of design before executing solutions"…..I'm fairly certain the response would be a raised eyebrow and a bemused stare.
Design goes New School, vs Old school thinking:
Which is better?……either can be a compliment or a condemnation….man, that is so old school …. or check out that vintage Land Rover,,,that is so old school,,,,,means exactly the opposite thing.
New school - metallics.
Old school - metal
The process of design doesn't really change at its core but the tools and the methods are definitely updating…faster than predicted. So I started thinking about what it means to think new and old school……
Old school: immense pride in the ability to manufacture, most predominant in the post-World War II era when we were obviously shifting industrial manufacturing resources into product designs. Economy was great, people were driving cars with tail fins that looked like rocket ships, and drinking martinis at lunch was perfectly common. It was really a remarkable period of exuberance and that carried into the 60's as well.
True old school story - A classic about the Raymond Loewy office in New York. In a reflection by the writer Ogden Nash, the story goes that about midday one Friday the man in charge of the drinking water coolers in the Loewy office removed the water bottles, empty or not, and replaced them with gallon containers of martini, which was then available in Loewy's preferred mixture and chilled as necessary on tap all afternoon. Now it goes on to say that there's some question about the story being true because they couldn't figure out whether he was mixing his gin 6 to 1 or 10 to 1……,
New school - Ikea,Sony,Target, okay, they're making great inroads in championing design, and we have a lot more choices. If you don't like what Wal-Mart has, there's a Target on the corner next to it. But if you don't like what they have, you can go to or go on-line and buy from Ikea or the Sony store. Here's the difference, you walk through a Target and you still have to look for what's really well designed. You walk through an Ikea or a Sony store and you have to look for something that isn't …
New school- the I-pod
Old school - the I-Mac
New school - product lust, saved a corporation.
New school - "meeting the design police," a pejorative term for regulating the use of all sorts of dimples and waves .
Old school - modernism
New school - modern
New school - any publicity is good.
Old school - publicity is a double edge sword.
True old school story - By an associate of Raymond Lowey's regarding a visit in 1960 by Mr. Loewy to the ivory towers of International Nickel to discuss a design program with them. …"The potential fee was in the area of a quarter of a million dollars, which in 1960 was a considerable amount of money. Once we were seated Mr. Lacue (President of International Nickel) said, ‘before you begin we would like to show you this,’ and reaching into his desk drawer he took out a shirt cardboard to which was taped a newspaper clipping showing a car that Raymond Loewy had modified. The article had a printed comment that Loewy had eliminated many pounds of vulgar chrome from the design. I was stunned. I have no idea what Loewy said, but I can clearly recall the other voice saying ‘if that's your attitude regarding chrome how can you do a credible service to our company.’ We didn't leave with a contract, we left with our tails between our legs and we just left them hanging there."
New school story - Ring. "Hello Mr. Dziersk? I work for Candice Bergen's office in Hollywood and Joanie Mitchell just cancelled and she wondered if you could come out here tomorrow and talk to her about design." So I thought it was one of Elizabeth's (my wife) friends, you know, and I said sure, when would you like me there? They said, "can you be here at 10:00?" I said okay, how am I going to get there? They said "we'll have first class tickets waiting for you at O'Hare in the United terminal at 6:00, can you be there?" I said, fine, yeah.
Ten o’clock the next morning I'm in Hollywood sitting across from Murphy Brown and she says to me, the very first question out of the gate, "Mark, the Americans have always been known for having incredibly bad taste, the English call us necessary, but not vital, what's all this new interest in beautiful things?"
New school - promoting the profession
Old school - Streamlining or clean lining.
New school - Streamlining or clean lining
New old school - when industries are competing at equal price and functionality, design is the only differential that matters.
New school - incredibly tough competition
Old school - incredibly tough competition
New school - maybe it was the culture, maybe it was the space movement, maybe the war in Vietnam, but for design the 70's and 80's were very, very quiet decades with no real heroes.
New school - At a lecture at a business school in Chicago the other day, I asked these non-design educated people to do something for me before the talk, I said write down the three most famous industrial designers in the world today and they wrote down,..Steve Jobs, Bill Gates and Henry Ford.
Old school - In the 50's or 60's if you said "who was the best industrial designer in this country?" People would tick off Loewy or Dreyfus or Teague like we now recognize George Clooney or Madonna
New school - function is out, form is in. This kind of demeaned the profession for quite a lot of people. On the other hand we had twenty pages in Time magazine, which encouraged a lot of people to become interested in design and what's happening now in this new modern movement.
New Old school -the new Golden Age of design.
New Old school - I've been an industrial designer for more than 20 years and my mother still doesn't know what I do. For a living…
Old New school -the orchestrated influence of negative space in a silhouette can make a form aggressive or passive.
New school - the camera, after you use it, you give it back to your photofinisher, they crack it open, they take the film out, develop it and give you the pictures. The camera goes back to the company, most of the internal parts are stamped and reused. All that plastic gets ground up, you add some virgin resin to the regrind and the next camera is molded from the previous one…… so that the camera's life is a closed cycle between the company and the consumer….
Old school - take credit for a design without acknowledging other participation.
New school - They catch you not acknowledging people who have worked on a design that wins an award, they take the award back
New school - Your shirt and slacks will very soon LAN connect
New school - A water glass in a restaurant will inform the wait staff that you need a refill.
Cool,….I guess in the end, I'm going with New School….
I have a lot of faith that "new school thinking" and this current generation of designers will create a new generation of design heroes…. The time is certainly right for a new school of important young designers to emerge in the field…..
Last story. In a class I teach at Northwestern University on the essentials of product design, I use an article from Fortune Magazine written and published in 1937 that introduces the newly minted and labeled profession of Industrial Design to the world. It's called Fish or Fowl? It's an article worth getting your hands on. I came to find out later that none other than a young George Nelson ghost wrote it. The same George Nelson who went on to become the famous Industrial Designer and design writer.
I ask the students to also read two recent magazine cover stories on Design and compare the content and tenor of the two…It is a striking contrast. The earlier article focuses entirely on the idea of design as a profession, such as Law or Medicine, that can change the face of businesses and introduce processes resulting in ROI -- the latter two, both an expose on cool stuff and cool people….. Now while some might think of Mr. Nelson as "old school." Here's what is interesting for me …when I read his article, I don't feel like I need anyone to poke me in the eye…..
*The character in Greek mythology who was chained to a rock and had his liver plucked out by an eagle only to have it grow back and repeat the process the next day and the next…over and over again as penance for angering Zeus
air scooter--back to the future??
The AirScooter™ is a flying, helicopter-like personal vehicle that is planned to be made available for sale later this year. The price is estimated to be less than US$50,000.
Weighing less than 300 pounds and able to carry a load of an additional 350 pounds, the AirScooter runs on ordinary gasoline rather than expensive airplane fuel, and is able to travel about 2 hours at 55 m.p.h. on a 5-gallon tank, at heights up to 10,000 feet above sea level. Its ultralight weight means that no pilot license is required to fly one.
The light weight is made possible by the production of a new AeroTwin 4-stroke engine specifically for the AirScooter, designed by motorcycle racing engine specialists at Pearson Motor Co of New Zealand. Stability is provided by two rotors both set on a single shaft, which turn in opposite directions, eliminating the need for a tail rotor.
The craft is steered using only the hands on a motorcycle-like handlebar. Throttle up to gain altitude, turn left or right to rotate, and move the bars like a joystick to steer in different directions, including reverse.
Pictures and video of the new craft are available from the AirScooter.com website (http://www.airscooter.com/pages/airscooter_media_files.htm).
HyperSonic Sound, or HSS®, has been called by MIT "the first big improvement in acoustics since the loudspeaker was invented 80 years ago". It represents a new way to focus audio in beams, rather like light is focused.
HSS works because sound of sufficiently high frequency above human hearing does not normally spread out like audible frequency waves. These waves can be projected onto specific individuals, causing them to hear a sound that appears to be emanating from themselves, while others around them hear nothing.
Potential benefits could include the reduction of noise pollution in public places. Announcements, instructions, and advertisements could be aimed at individuals, not disturbing their neighbors. People in the same room could all listen to different music without the use of headphones.
Crank up the volume, and HSS could also be useful to military or law enforcement agencies. HSS beams can be focused up to 500 yards away, transmitting warnings or temporarily stunning and disabling a person with non-lethal force.
http://en.wikinews.org/wiki/Elwood_Norris_receives_2005_Lemelson-MIT_Prize_for_invention
The AirScooter™ is a flying, helicopter-like personal vehicle that is planned to be made available for sale later this year. The price is estimated to be less than US$50,000.
Weighing less than 300 pounds and able to carry a load of an additional 350 pounds, the AirScooter runs on ordinary gasoline rather than expensive airplane fuel, and is able to travel about 2 hours at 55 m.p.h. on a 5-gallon tank, at heights up to 10,000 feet above sea level. Its ultralight weight means that no pilot license is required to fly one.
The light weight is made possible by the production of a new AeroTwin 4-stroke engine specifically for the AirScooter, designed by motorcycle racing engine specialists at Pearson Motor Co of New Zealand. Stability is provided by two rotors both set on a single shaft, which turn in opposite directions, eliminating the need for a tail rotor.
The craft is steered using only the hands on a motorcycle-like handlebar. Throttle up to gain altitude, turn left or right to rotate, and move the bars like a joystick to steer in different directions, including reverse.
Pictures and video of the new craft are available from the AirScooter.com website (http://www.airscooter.com/pages/airscooter_media_files.htm).
HyperSonic Sound, or HSS®, has been called by MIT "the first big improvement in acoustics since the loudspeaker was invented 80 years ago". It represents a new way to focus audio in beams, rather like light is focused.
HSS works because sound of sufficiently high frequency above human hearing does not normally spread out like audible frequency waves. These waves can be projected onto specific individuals, causing them to hear a sound that appears to be emanating from themselves, while others around them hear nothing.
Potential benefits could include the reduction of noise pollution in public places. Announcements, instructions, and advertisements could be aimed at individuals, not disturbing their neighbors. People in the same room could all listen to different music without the use of headphones.
Crank up the volume, and HSS could also be useful to military or law enforcement agencies. HSS beams can be focused up to 500 yards away, transmitting warnings or temporarily stunning and disabling a person with non-lethal force.
http://en.wikinews.org/wiki/Elwood_Norris_receives_2005_Lemelson-MIT_Prize_for_invention
