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Understanding definitions of design
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In this text, three essays extracted from the compilation “Design and Art” by Alex Coles, are being analyzed or commented. This three essays seek to explain a clear definition of the word design and then proceed to relate/separate design, giving details about the function and goals of design and determining the motto and characteristics of art. What is design? (Vilem Flusser, 1993) According to Charles Eames, design is the arrangement of elements, which accomplish a particular purpose. Design is an expression of purpose, which could be later judged as art. Design is not a craft for industrial purposes, though it might be a solution to industrial problems. Its boundaries are defined by the boundaries of the problems which is addressing. Design does not concerns itself with only one part of the environment and it is not a method of general expression, it is a method of action. Design is often a creation of a group, because designers must always admit the influence of those who have gone before. Design implies the idea of products that are useful, though the use might be very subtle. Some designs are manufactures industrially and some do not, it depends on the nature of the design and the requirements. Design depends on constraints, a sum of constraints. A good designer is willing and enthusiastic to work with this constraints. Some needs are ephemeral so are some designs. Only those designs that have a more universal quality will tend towards permanence, since design addresses to the need, no to an individual or to a mass. About the word design (Charles Eames, 1972) In the essay, “About the Word Design” by Vilem Flusser, the author starts to crumble the word design and starts explaining its origins. By doing this, one finally bec... ... middle of paper ... ...esign in the art" and here is where one may come to the point of whether design is the same as art. To many, including myself, the answer to this interrogation is: NO. Art as mentioned above seeks to express ideas and communicate through beauty but lacks linear processes and does not seek to solve anything, neither does look for an audience, but only to please the artist and express the desire to convey something. The design, however, seeks to solve problems of a particular kind, persuade and communicate, even a design can come to express ideas but not always the designer’s. The results are due to design and process techniques things lacking in art. These two words are synonyms for many but in reality, it is a misconception created by the public that, historically, sought design solutions in art and art solutions on a design. Works Cited Alex Cole, Design and Art
In this paper I will present two differing views on the topic of the design argument. In particular, I will explain William Paley's view supporting the design argument and Bertrand Russell's view against the design argument. After a presentation of the differing views, I will then evaluate the arguments to show that William Paley has a stronger argument.
Lawson, Bryan. How Designers Think: The Design Process Demystified. NY: Architectural Press, 1980, 2007. Massachusetts: NECSI Knowledge Press, 2004.
A good design begins with a creation or plan for the making of an object or service. It is a strategic approach towards a person’s (usually a client or target audience) required unique expectations. A design generally defines the specifications and parameters in achieving its main objectives. Often there are no key attributes as to what would make a design successful and interesting. Products and peoples needs and wants or taste often change and revolve around time. This brings a definite change in the market and its emerging’s trends. This cycle of evolution will always exist, but finally it is the factor of emotional response with the customer that will determine whether a product is successful or not. Whether the design is an object or it is a concept, the design that we see is an accumulation of various concepts and decisions that have been brought together from a variety of disciplines. In order for a consumer to view the design as something that is good it takes a unique combination of aesthetics, quality and ergonomics to make a design successful. Often we recognize a bad design at its first glance and a bad design often forces one to take in many confusing and conflicted content. So what makes our design/ product fail?
One main item that could affect design is the concept of liability. In today’s day and age, organizations are quick to lay blame on an individual instead of looking at process improvement. For example, a manufacturing organization that identifies how to improve processes to avoid/correct seeing defects would strengthen the loyalty of its workers vs. one that identifies individuals to blame. Most new design is reviewed
Wicked Problems in Design Thinking Author(s): Richard Buchanan Source: Design Issues, Vol. 8, No. 2 (Spring, 1992), pp. 5-21 Published by: The MIT Press Stable URL: http://www.jstor.org/
I am sure that we have all, at one time or another, noticed that almost any discussion concerning the merits and demerits of art, if it goes on long enough will come to the qualities of innovation and traditionalism in regards to aesthetic value. As soon as these two qualities are mentioned, there comes an inevitable forming up of those who favor innovation and deride tradition and those who favor tradition and deride innovation. Either side usually admits only enough merit to their opposition, and limitation of their own view, to make themselves seem reasonable and objective: but the bulk of their effort goes into savaging their opponents and extolling the ultimately ascendant nature of their position. I am inclined to take neither view, but to propose a third. It is not enough that we should pursue either innovation or traditionalism simply because we have some sort of aesthetic attraction to them, such as, for example, sentimentality or novelty. There may be those who would respond that there is simply no arguing about taste: that you like what you like and that is that. Certainly such people are right in one sense, but this response seems too simplistic and of a ‘sour grapes’ nature to convince me that this is the end of the matter. Rather, I suggest, it is the purpose to which we apply either innovation or traditionalism which dictates whether or not they have aesthetic merit: too often, our adherence to either of the two qualities becomes a thoughtless habit of our culture rather than anything useful in itself. In order to prove the viability of this qualification, I will first explore the negative and positive qualities of innovation, and the possible causes thereof. Then I will look at the negative and positive qual...
‘Lost in translation’ happens more frequently during the rate of globalization. The misreading of design languages is not just an issue among layperson, designers also been affected during the international cooperation. Naturally, there are gaps existing between different cultures (Jones, 2011). For example, the masterpieces of Japanese director Akira Kurosawa considered as the portraits of ideological conflicts and exhibits individual’s sacrifices for feudalism. But on their Western re-making versions, the heroism and anarchism were been emphasized instead. Just like the differences between Samurai and cowboy, design languages and signals are preforming in different way from east to west.
NA, . "A Critical Analysis of Robert Frost's "Design"." Academic Help. Academic Help, 08 October 2010. Web. 16 Feb 2012. .
The elements of design were created by Arthur Wesley Dow to help people see, describe, and create visual qualities in a systematic way. It consists of 7 elements: line, shape, form, colour, value, texture and space.
Registered Designs protect the design in two ways – with regard to the appearance or by the features...
What is the relationship between the creative impulse and the creative output of designers, who for the purpose of this essay will be extended to include artists from all fields of endeavour? Neil Brown (2005) examines this relationship and concludes that it is necessary to preserve separation between the practice of research into design and the practice of design itself. He references the argument of Schön (1983) (in Brown (2005), p3) that there is a difference between reflecting in one’s practice, i.e. the art practice itself, and “reflective deconstruction of the system in which one’s practice is conducted”, or rather research into the practice of the artist as distinct from the making.
Hegeman, J. (2008). The Thinking Behind Design. Master Thesis submitted to the school of design, Carngie Mellon University. Retrieved from: http://jamin.org/portfolio/thesis-paper/thinking-behind-design.pdf.
...he organization. The output of the design group’s efforts is detailed drawing and other specifications, which assist the succeeding groups for effective usage of the raw materials into a finished product. This information is also important for the product
A new product on the market may look all shiny and new and be appealing to customers but what is the story behind the product and what is the underlying future for this product. Where were the original materials from? Is it all legalised? Where did the manufacturing take place? How was the product manufactured? These are all questions that are never properly addressed in the design industry and are just simply overlooked. They are the aspects of designing and producing a new product that need to be carefully looked at to make a good design, and to make sustainable products.
...But however some engineers often love to challenge themselves by making plans that balance functional value of aesthetic appeal. In communities they emphasize contemporary design structure, engineers often renovate or rebuild more creative structures where older, more traditional structures once stood.