Clive Dilnot's The State Of Design History

As former Rhode Island School President, John Maeda, noted at the Congressional STEAM caucus kick-off event "Innovation depends on the problem solving, risk taking and creativity that are natural to the way artists and designers think, art and science – once inextricably linked – are better together than apart.” (Ghanbari, 2015)

Though the start of the modernisation may trace back to the beginning of Industrial Revolution. “Modernism in the design world did not exist in a fully developed form, until well after First World War.” (Wilk, 2006) Causing the great loss of lives and other countless damage to the world, it reshaped many people’s way of thinking the world. With the inspiration of early avant-garde movement, the modernism began to emerge advocating an utopian future and shared certain core principles by various styles of modernists: rejecting the past and applied ornament; forms follow function, a preference for

Our beliefs, time, money, and actions are all being fought over with design as the arsenal. The graphic designer learns how to participate in this fight through education, intuition, creativity, and technical skills. Though helpful, a formal education in design is not what is meant here. The education needed is more about understanding the previously mentioned rules we are working with. Intuition is required in order to know when it is appropriate to adjust or disregard these rules. Creativity is needed because redundancy will not break through the wall into the internal world. Technical skills are essential because poor craft reduces credibility. This idea of the world as an arena is a reoccurring theme in The Cheese Monkeys, and the importance of education, intuition, creativity, and technical skills have been further reinforced to us through the grading process and classroom discussions in Graphic Design

The fact that technology is evolving every second means that the way we design, create and even advertise it is changed. Designer can go a long way, in many different directions. Even though the innovations introduced have a major positive impact, they do have a negative one as well.

But in contemporary society, there is no single definition that covers design completely, or even fields of professional practice as graphic or industrial design that adequetly cover the diversity of ideas and practices as once existed. (pg3 wicked problems in Design thinking book THE IDEA OF DESIGN)

The document is officially published on October 14, 2015 and posted on the LinkedIn blog page. The discipline of this document would be used in a journal that is related to any field of design. Design students and professions would use this document for building self-esteem and the inspiration for understanding designers’ difficulties in the reality.

In this paper I will explain the Argument from Design. From there I will address what I find to be the two best objections to the Argument from Design. Then I will explain why I do not find these arguments persuasive. The Argument from Design is based upon two basic premises.

The article Student Perceptions: Debunking Television’s Portrayal of Interior Design by Lisa K. Waxman and Stephanie Clemons addresses the common misconceptions society, and design students have towards the true meaning of being an interior designer and the discipline interior design. Both Waxman and Clemons take a unique perspective when analyzing this issue. This article shares an interesting perspective that involves exposing the noticeable truth that affect students that come into the interior design study. Instead of arguing against the preconceived idea that design-related television suggest, both Waxman and Clemons pose

Design influences our lives in an unseen yet valuable way. However, original designs are frequently imitated, the law has developed to prevent this. Is this protection adequate? Or, in part due to EU law, has the protection of designs become so complicated that it is unfit for its purpose. In order to assess this, it is important to assess the methods of protecting designs and the interaction between the UK and EU law. There are two ways in which both UK and EU law protects designs: Through registered design rights and unregistered design rights. It is clear that there are multiple ways of protecting rights. What is left to be seen is if this is superfluous, or an adequately nuanced approach to the complicated matter of design law.

Ann Moyal, historian questioned the myth of Australian innovation on the eve of the Bicentennial festivity. In Australians treasured ‘no fuss design’. Certainly, if one word had to be cited as abhorrence to Australian design critics of the 1940s-1960s that would be fuss. Starting the argument Simon ask the palpable questions for any study of the history of industrial design activity in Australia - is there a national sensibility? And should there be an effort to generate a national canon? Tony Fry wrote in 1988 ‘there is no Australian design’, saying there was no national sensibility, no characteristic appearance. Fry acknowledged there had been substantial innovation in Australia, but not enough industrial design objects existed in comparison to the distinctive British, American, Italian, French, German, Scandinavian or Japanese design cultures. The mythology of Australian industrial design has prejudiced the way Australians see themselves and effected the activity of industrial design exercise in

The title of Michael McDonough’s talk is Cradle to Cradle Design. Mr. McDonough is an architect and his talk focuses on the problem of how our Earth and our people are being hurt because the products we are designing are not safe or healthy. He starts by the talk referencing Rachel Carson’s book “Silent Spring” which brings up the possibility that we might kill all of the birds. He then talks about what he thinks is the fundamental issue, which is that design is a sign of human intentions. He thinks that we need to evaluate our designs given that we are the dominant species on the Earth and that we are the stewards of the Earth – in other words, we should be taking care of the Earth. He thinks that designers should be asking how can we create world peace and save the environment when we build things. Instead of starting with this question, designers of today don’t seem to have a plan. And the result of having no plan is tragedy, like global warming and mercury poisoning of children from coal plants.

“Yale is the place that endowed me with the confidence and the grand scope of the world that a young designer needed to excel and make a difference in the real world.” – Yansong Ma. Yale University (M.Arch ’02).

Originality is a word that makes perplexity among the general public whether it exist or is it a myth. Particularly in the design field, more new plans are made and new items designed. As designers, we research for inspiration, and we chip away at new design projects each day. The inquiry is, are those new things characterized as original work? (Ho, 2015) We may say we have seen comparative yet diverse work some time recently, and it is only a development from the past work. Along these lines, some may trust it is original and some may say it is not original. This research will argue on the misconception of originality in human speculation and how the social impacts lead to same experience and considerations bringing about comparative thoughts

Graphic design started many years ago. Over time, graphic design skills changed, as well as the implementation of ideas. Different designers from around the world practiced design, and each one had their own way. Designers’ experiences helped them to do more modern work. Some of them brought new ideas to graphic design and developed it. There are many professional designers, but Herb Lubalin and Alexey Brodovitch deserve to be known in the history. They bring creative and modern ideas to the art deco movement.

Meredith Davis’s book “Graphic Design Theory” was published in September 2012 by Thames & Hudson. This book blends a study of historical thinking of design with contemporary / modern approach to it. It also suggests students to critically analyse their work and asks them to adopt the design theories to embellish their practical design work as it will help them construct better work. This book also helps in understanding the consumers and the history of Graphic Design and also talks about a range of theories and introduces a collection of concepts and sources for future use and reference. In this book, Meredith Davis talks about the relationship of visual representation to the contexts of design. It talks about focusing on the broad and long term aftereffects of design and not to design only for the moment and responding to prompt needs.