Design and Culture

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.

This rhetorical attribution to design, challenges interesting areas of debate regarding the negation between design and the world. Design is seen as ..

Design is all around us, whether it is the way you dress, the color of your room or even the style of your toothbrush. Daily, the choices we make are dependent on their design. Function doesn’t necessarily come into play anymore because the products all function the same. For example, Steve Jobs, he took products that were available and he designed them to be beautiful products as well as functional. When I choose the electronic products, Apple is my first choice not only because of its function, but also because of its design.

Alice Rawsthorn starts her Ted lecture with a statement that design has different meaning at different times. However, the all Inspiring designs have something common: they were created by dreamers: people who have big dreams and rebels the conventions. As a proof to her statement, Rawsthorn brings examples from the human history. The first example is about Ying Zheng who designed the all fighting tools in identical way. This case emphasizes the importance of design tools as a response to unique needs as war: defense/attack. Moreover, he gave solution of necessity of maintain product consistency in order to keep the maintenance and

we as human especially designers and artists use drawing and sketching to help us to generate ideas

The word “Design” has been traditionally used to describe an object within physical and aesthetical

The phrase "what is design" has been contemplated constantly. Walking down the street, people see cars, buildings and advertisements; piece of artwork serving purposes in the daily lives. Throughout society, people are bombarded by a verity of designs captivating the users and manifesting itself within cultural space. It is a broad definition and this may be due to the existence of art, with the two forms sharing such similarities yet different quite distinctly. Designers create to capture users attention, but ‘what is design?’ When the term ‘design’ comes to mind, it could be difficult to define and is often misconstrue as a term for art, however they have two entirely different meanings.

We are all part of an interlinking system, a system that needs balance with humanity and nature at the forefront. As Designers it is important that we take self interest out of design and instead collaborate within our physical environment and make sure that from the get go, our designs should work around a collaborative system that has a wide breadth of professional fields and influence from existing infrastructures found within our world. Victor Papernak writes “eighty percent of the environmental impact of the products,services, infastructures around us is determined at the design stage.” I have chosen to explore collaborations within the natural world, our industrial ecology and social design as examples of how important working together with other professionals and the environment we live in are for the bigger picture. In Victor Papernak’s book Design for the real world, Papernak uses an anecdote to stress the importance of collaboration for successful design.

One of the most common causes of bad design is not considering the design within the complexity of its materials and immaterial context. It may be an effective way of problem solving by changing our lifestyle, our intention and the way we view the world as to creating more technical solution. It is crucial for designers to become more aware of the power of visioning at a meta-design level as they can influence changes in lifestyles and resource use in which will drive transition in sustainability. Designers can also help changes in the personal and cultural value as well as in helping to shape the intentionality behind material design (Wahl and Baxter 2008).

Created in 1964, the original ‘First Things First’ Manifesto called for “more lasting forms of communication” to become the focus in design over commercial advertising for products that the author’s deemed unworthy, such as “striped toothpaste” and “stomach powder” . Thirty six years later another group of designers re-released their own version of the manifesto under the same name, again calling for a new kind of meaning and purpose for design . They stated that “consumerism is running uncontested; it must be challenged by other perspectives expressed, in part through the visual languages and resources of design” . According to the manifesto, the world saw designers purely as advertisers, and called for more worthy focuses of design to be encouraged, similarly to in the original manifesto. In this essay, how consumerism was running uncontested will be examined, particularly in terms of advertising and the commercialisation of culture when the two different manifestos were written (1964 and 2000). Also, the essay will highlight how this is being opposed through anti-consumerist works, including works made by those who created both the original and

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.

Design is that area of human experience, where skill and knowledge is concerned with man’s ability to mould the environment according to his material and spiritual needs. It is used to analyse and identify problems to find an appropriate solution. Designers have created all kind of functional designs to help improve people’s lives. They were interested in the nature of beauty, art, and taste and with the creation and appreciation of beauty. Although there are examples of pre-historic art, they are rare and the guidelines that they followed are not so clear, Thus the aesthetic doctrines that guided their production and interpretation one mostly unknown. However, recently designer notice what happing to the world such as global worming

A great design is not only one that is functional, the beauty and feeling of a design is a key for us to feel good about a product. A great product with no feeling will fail. A beautiful design helps to create a relation between us and a product. A car with the same specification as a Volkswagen Beatle will never make the same connection to a Beatle lover. People simply buy an iPhone not just A PHONE with similar functional specification, the feeling matters.

The paper aims at sensitizing designers towards the voices of every stakeholder involved in designing a product that influences through the product life cycle, in a comprehensible way with an objective to facilitate designer towards a better design. This paper discusses the basic purpose and nature of design in the context of judging the aptness of a dialogue among the stakeholders including product in itself. It also discusses the kind of outcome based on designers stand in the design process which makes the conversation dialogical or arguing in nature. The paper proposes ‘Design Tree’ as a structure, for creating distinct platforms for dialogue to happen at all stages of design evolution for design dialogue to be comprehensible.

Product design: Products are made from famous designers who are known in the art domain, it