Fist class Design Theory IDAS 2010

1. design theory.
1

2. STARCK

3. Hello Philippe Stark
What is a designer?
An agitator.
Someone whose goal is, whose function is to kick anthills.
Someone who is here to shake up people’s heads.
There are designers…..
There are different ways to express oneself.
Some sing it, some write it.
Since I’m masochist, I try to express it through matter.
“ Inanimate objects, do you have soul “
And I think that’s a little bit…the only thing one must do when one
is producer, is to try to breathe a soul into the mater witch
surrounds us, so that we can live with it.
STARCK

4. design ?

5. one almost perfect object
The object is constituted by a series of containers modulated in
shape of slices arranged circularly around a central axis on which
every slice rests supported by its rectilinear edge, whereas all the
curved edges turned to the outside propose as global shape a
sort of sphere.

6. one almost perfect object
The set of these containers is collected in a packaging very
characterized as well as from the material than from the color:
rather hard on the outside surface and dressed in a supple filling
inside which serves of protection between the outside and the
set of containers. The building material is the same everywhere
but differs conveniently at the level of the function. Every
container is constituted by a necessary plastic film to contain the
juice and easily detachable from the set. Every slice is maintained
by a very weak adhesive. The packaging according to the current
custom should not to be returned to the manufacturer and can
be thrown.
Every slice espouse exactly the shape of the human set of teeth,
that makes that once taken out of the packaging one can support
it between teeth and extract from it the juice by a light pressure.

7. one almost perfect object
Usually slices contain besides the juice a small seed of the plant
which produced the fruct. A little gift that production offers to
the consumer in case this one would wish to have a personal
production of these objects. It is necessary to notice the
economical indifference of a such idea, and on the other hand
the psychological link which becomes established so among the
consumer and producer. Very few people will begin then to sow
orange trees, but the offer of this present highly altruistic, the
idea to be able to make it, frees the consumer of the castration
complex and establishes a report of autonomous and mutual
faith.

8. one almost perfect object
The orange is so an almost
perfect object where one finds
absolved coherence between
the shape, the function and the
consumption. Only ornamental
concession if l “one can say:
the search for the material in
the surface of the packaging,
processed in “ peel as orange” ,
maybe to call back the pulp
inside containers. Anyway, it is
a minimum of decoration
perfectly justified, it is indeed
necessary to recognize it.
Bruno Munari

9. one almost perfect object
The orange is so an almost
perfect object where one finds
absolved coherence between
the shape, the function and the
consumption. Only ornamental
concession if l “one can say:
the search for the material in
the surface of the packaging,
processed in “ peel as orange” ,
maybe to call back the pulp
inside containers. Anyway, it is
a minimum of decoration
perfectly justified, it is indeed
necessary to recognize it.
Bruno Munari

11. design ?

12. design always
spring from idea,
it is the form
given to an idea
Emmanuel Dietrich

13. In German : Formgebung (Hochschule für Architektur
und Formgebung)
In Danish : Formgivningen
(giving form)
Term pour organization in the sense of the industrial
design with the goal of the improvement of form and
function.
In contrast to it the styling.

14. but...
why ?

15. for which
purpose ?

16. let’s see
how
nature does it...

17. In nature,
there is nothing useless

18. Form in nature is at one and the
same time an expression of
purpose, economy and beauty
and has a living relationship to
the world around it.

19. We use the same kind of terms
when we talk about industrial
design:
Purpose - Economy of
manufacturing and construction -
Beauty - Interaction with the user
- Relationship to the
environment.

20. The fact that the designs of
nature and the designs of
mankind can be analyzed
according to a common set of
criteria stems from a fact that
they have a basic property in
common:

21. they are
solutions to
a problem
to satisfy
a need.

22. design
is as much a matter
of asking
the right questions
as answering them.

23. Design
is not
only solving problems
but also
stating them.

25. WHY
WHAT
HOW

26. WHY
WHAT
HOW

28. design ?

29. formal qualities.

31. These technical forms can be
interpreted as being beautiful and rational, it is a answer to a
need.
But to be able to enter the field of the industrial design they
miss an essential quality. a complex of liable to altering criteria,
a possibility of choice and decision.

33. Soccer ball
The definition of the result to obtain is simple: to create a sphere
of a given diameter.

35. Soccer ball
To obtain this result, several starting structures are possible:
rational calculations of course, but not exclusive than in the
example of the propeller.

36. formal qualities / structure:

37. formal qualities / structure:
formal qualities dependent of a structure:
separations of the sphere in various
parts show formal qualities
here, this is the direct consequence of the
structure: the cube
formal qualities independent of a
structure: decoration, style.

39. It is somewhere there, witch begins the industrial design.

41. design ?

42. The industrial design is a creative activity of which the aim is to
determine formal qualities of the industrially produced objects.
These formal qualities do not relate to only external
characteristics, but mainly the reports/ratios of structure and
function, which convert a system into a coherent unit as well
from the point of view of the producer as of the consumer.
Thomas Maldonado for ISCID. International council of Societies of Industrial Design, founded in 1957

43. Design is a creative activity whose aim is to establish the
multi-faceted qualities of objects, processes, services and their
systems in whole life cycles.
Therefore, design is the central factor of innovative
humanization of technologies and the crucial factor of
cultural and economic exchange.

44. Design seeks to discover and assess structural,
organizational, functional, expressive and economic
relationships, with the task of:
- enhancing global sustainability and environmental protection
(global ethics) ·
- giving benefits and freedom to the entire human community,
individual and collective final users, producers and market
protagonists (social ethics)·
- supporting cultural diversity despite the globalization of the
world (cultural ethics)·
- giving products, services and systems, those forms that are
expressive (semiology) and coherent with (aesthetics) their
proper complexity.