Design for the Real World
Victor Papanek
Paladin 1974
This book has a lot going on. It critiques the status quo in regards to the current state of affairs of design and the environment in which it operates. The latter part of the book proposes alternatives. I’ll summarise the things that stuck out for me.
The Function Complex - criteria for evaluating design.
Use - Does it work (well)?
Need - Do we need it?
Telesis - Does the design fit it’s context/culture?
Association _ I think this refers a bit to semiotics and the recognition and identification of designed objects. i.e. don’t confuse people.
Aesthetics - beautiful, exiting, delightful, meaningful.
Method - interaction of tools processes and materials i.e. using the appropriate ones.
Notably aesthetics is incorporated into the functional complex.
The main themes were:
We design for a minority
We produce things we don’t need
We replace/throw away things when we don’t need to motivated by fashion/marketing/fads/status
There is built in product obsolescence (no spare parts, replacements, servicing etc).
Do we need so many brands/models/versions of something? (wasteful duplication).
We need safer products (badly designed products can hurt, maim, and even kill people).
Product life cycle/environmental issues relating to pollution and product disposal.
This book is over 30 years old and it is interesting to see that most of the issues raised are still relevant now, and are issues we are still grappling with.
It has some relevance to my essay topic which I shall discuss in more detail.
Thursday, April 10, 2008
Wednesday, April 9, 2008
Lecture: (Im)material Practice
Talking about designers having to deal with form, materials, and mass.
But what actually is design?
Design as Applied Creativity
A mixture of creativity and analytical skills.
Design as Problem Solving
Pose
Search
Generate
Test
Phase model of the design process. Starting with requirements, and a linear progression through development, testing, and production.
It works well in situations where the design goal is clear and the goal doesn’t change, and if different solutions can be compared with each other.
It is a control management process.
Design as Learning
Experiments - models, sketches, etc
Iterative - learn your way towards a solution
Design as Evolution
Continual refinement of ideas and concepts
Design as a Social Process
Today we work and design in teams as the skills of many people are required. Group dynamics involve negotiation and compromise. Good designers are good negotiators.
Design as a Game
A design problem is a challenge or a gamble. Have to take risks.
Design as Solving Wicked Problems
There were quite a few clauses defining Wicked Problems in the lecture, but Messy vs Tame sums it up.
Improvising your way to a solution. Create a path by walking along. Reach a solution intuitively, and construct explanation afterwards with hindsight.
Design as Mastery of Expertise
Niave - adequate for everyday use. Design as a reaction
Novice - considers mentor ideas. Follow strict rules. Learn formal process of design.
Advanced Beginner - maxims/guidelines, exceptions to rules
Competent Designer - select relevant elements, seeking opportunities, building up expectations, willing to take risks.
Expert - many years of experience. High level patterns. Responds intuitively. Vulnerable to disruptions (external factors)
Master - Anxious expert (anxiety).Standard ways of working aren’t normal but contingent. Consequences/appropriateness of design decisions (ethics).
Visionary - expert domain. Works in the margin of domains (expanding boundaries). E.g. Galileo, Martin Luther King. They see the world in a different way.
How Not To Design
I thought that I’d reframe this into the positive, so...
How TO Design
Explore many ideas and concepts
Start off at a high level (macro)
Be flexible
Be holistic (focus on many aspects - the whole problem)
Do something/anything i.e. work through creative blocks
Listen (utilise feedback and constructive criticism)
(I don’t thing I got them all but it’s a good start).
The game of “Go” (not sure of the spelling of that one). Competition for the computer to beat a human. The idea that something human can do better than computers. Actually that we take a lot of things that we can do for granted.
My Thoughts/Summary
It is interesting to look at design from different perspectives. The “Design as a Wicked Problem” got my back up. It seems like a problem classification or categorisation system to me, and one of limited use. Basically how does labelling a design problem “Wicked” or not help you respond to it? It doesn’t add anything.
I did like the “How (not) to Design”. I think the “Don’t wait for inspiration” is key. Do. Act. Engage. Be active versus passive. Take control.
Part II coming soon...
But what actually is design?
Design as Applied Creativity
A mixture of creativity and analytical skills.
Design as Problem Solving
Pose
Search
Generate
Test
Phase model of the design process. Starting with requirements, and a linear progression through development, testing, and production.
It works well in situations where the design goal is clear and the goal doesn’t change, and if different solutions can be compared with each other.
It is a control management process.
Design as Learning
Experiments - models, sketches, etc
Iterative - learn your way towards a solution
Design as Evolution
Continual refinement of ideas and concepts
Design as a Social Process
Today we work and design in teams as the skills of many people are required. Group dynamics involve negotiation and compromise. Good designers are good negotiators.
Design as a Game
A design problem is a challenge or a gamble. Have to take risks.
Design as Solving Wicked Problems
There were quite a few clauses defining Wicked Problems in the lecture, but Messy vs Tame sums it up.
Improvising your way to a solution. Create a path by walking along. Reach a solution intuitively, and construct explanation afterwards with hindsight.
Design as Mastery of Expertise
Niave - adequate for everyday use. Design as a reaction
Novice - considers mentor ideas. Follow strict rules. Learn formal process of design.
Advanced Beginner - maxims/guidelines, exceptions to rules
Competent Designer - select relevant elements, seeking opportunities, building up expectations, willing to take risks.
Expert - many years of experience. High level patterns. Responds intuitively. Vulnerable to disruptions (external factors)
Master - Anxious expert (anxiety).Standard ways of working aren’t normal but contingent. Consequences/appropriateness of design decisions (ethics).
Visionary - expert domain. Works in the margin of domains (expanding boundaries). E.g. Galileo, Martin Luther King. They see the world in a different way.
How Not To Design
I thought that I’d reframe this into the positive, so...
How TO Design
Explore many ideas and concepts
Start off at a high level (macro)
Be flexible
Be holistic (focus on many aspects - the whole problem)
Do something/anything i.e. work through creative blocks
Listen (utilise feedback and constructive criticism)
(I don’t thing I got them all but it’s a good start).
The game of “Go” (not sure of the spelling of that one). Competition for the computer to beat a human. The idea that something human can do better than computers. Actually that we take a lot of things that we can do for granted.
My Thoughts/Summary
It is interesting to look at design from different perspectives. The “Design as a Wicked Problem” got my back up. It seems like a problem classification or categorisation system to me, and one of limited use. Basically how does labelling a design problem “Wicked” or not help you respond to it? It doesn’t add anything.
I did like the “How (not) to Design”. I think the “Don’t wait for inspiration” is key. Do. Act. Engage. Be active versus passive. Take control.
Part II coming soon...
Updated Bibliography
Thanks for the book recommendation Anne. I have updated my bibliography list accordingly. I have tried to get hold of this book previously (TS170.5 C466 E), but it is on loan till 28/4.
I shall try and source another copy or get it recalled.
I shall try and source another copy or get it recalled.
Sunday, April 6, 2008
Lecture: Emboddied Interaction
Wearable Technology
Mobile Media
Interaction Installations
Telematics
Device shrinkage leading to hi-tech jewellery and biometrics e.g Taser jacket and USB necklace.
New materials. Luminescent, colour changing, electrically conductive. Thermo-chromic inks.
L’echape Communicante
Steve Mann. Wearable Computers. Him being a pioneer in his field. Werable computers are:
- worn, not carried
user controllable
operate in real time (although they may have a sleep mode).
“sousveillance” - embedded cameras. Surveilling back.
Benoit Maubrey. Die Audio Gruppe
1982 Audio Jackets
1989 Audio Ballerinas
2003 Audio Peacocks
Golan Levin - Dialtones (a telesymphony)
Arts Electronica Festival
Paul De Marinis - merging the acoustic and interactive.
1998 Raindance
2004 Firebird
Sound embedded in water
Joachim Sauter ART COM Berlin Interactive Performance
Virtual to Physical interaction
2007 Duality
2002 Famous Grouse Experience
Holistic experience design using all of the senses
Media Stage and Costume Design
Architecture Generated in real time from plant growing algorithm. Infrared reflective costumes.
Four cameras in realtime motion capture for volume generators.
David Rokeby
Very Nervous System (1986-1990) Soft VNS
Vision inextricably linked with surveillance.
2003 Sorting Daemon. Automatically classifying people. Prejudice institutionalised in software programs.
Paul Garrin / David Rokeby
1994-96 Border Patrol. Thomas Squat=re Riot 1988. Security through insecurity (pre 9/11).
Erkki Kurenniemi
DIMI Ballet 1971. Optical video to sound synthesiser.
Paul Sermon
Telematics - computers and wireless (GPS).
Telepresence - to appear, or have an effect at a location other than their true location.
1992 Telematic Dreaming
1993 telematic Vision
You are as sensitive to what happens to your own image as your are to your own body.
1977 Satellite Arts Projects. Kit Galloway and Sherrie Rabinowitz
1980 Hole in Space. Kit Galloway and Sherrie Rabinowitz.
1984 Good Moning Mr Orwell.
Nam June Paik. NY, Paris, and San Francisco.
Mobile Media
Interaction Installations
Telematics
Device shrinkage leading to hi-tech jewellery and biometrics e.g Taser jacket and USB necklace.
New materials. Luminescent, colour changing, electrically conductive. Thermo-chromic inks.
L’echape Communicante
Steve Mann. Wearable Computers. Him being a pioneer in his field. Werable computers are:
- worn, not carried
user controllable
operate in real time (although they may have a sleep mode).
“sousveillance” - embedded cameras. Surveilling back.
Benoit Maubrey. Die Audio Gruppe
1982 Audio Jackets
1989 Audio Ballerinas
2003 Audio Peacocks
Golan Levin - Dialtones (a telesymphony)
Arts Electronica Festival
Paul De Marinis - merging the acoustic and interactive.
1998 Raindance
2004 Firebird
Sound embedded in water
Joachim Sauter ART COM Berlin Interactive Performance
Virtual to Physical interaction
2007 Duality
2002 Famous Grouse Experience
Holistic experience design using all of the senses
Media Stage and Costume Design
Architecture Generated in real time from plant growing algorithm. Infrared reflective costumes.
Four cameras in realtime motion capture for volume generators.
David Rokeby
Very Nervous System (1986-1990) Soft VNS
Vision inextricably linked with surveillance.
2003 Sorting Daemon. Automatically classifying people. Prejudice institutionalised in software programs.
Paul Garrin / David Rokeby
1994-96 Border Patrol. Thomas Squat=re Riot 1988. Security through insecurity (pre 9/11).
Erkki Kurenniemi
DIMI Ballet 1971. Optical video to sound synthesiser.
Paul Sermon
Telematics - computers and wireless (GPS).
Telepresence - to appear, or have an effect at a location other than their true location.
1992 Telematic Dreaming
1993 telematic Vision
You are as sensitive to what happens to your own image as your are to your own body.
1977 Satellite Arts Projects. Kit Galloway and Sherrie Rabinowitz
1980 Hole in Space. Kit Galloway and Sherrie Rabinowitz.
1984 Good Moning Mr Orwell.
Nam June Paik. NY, Paris, and San Francisco.
Saturday, April 5, 2008
Lecture: Open Source Design and Collective Invention
Networks
Archigram - Plug-In City. Living within the network. Node/Links. Total node network. Networks about horizontality - flat space, infinite surface.
Nework continous and extended. Building has become the planet. Superstudio.
Megastructures. Archizoom. Non-stop city. The prosthetic extension of the human body through electronics. GIANT ELECTRONIC BRAIN.
www.instructibles.com
RepRap(?): Opensource rapid prototyper
Mash-Up & Remix Culture. Danger Mouse, The Grey Album, 2004
Negativland
Culture Jamming
Adbusters
Will St Leger
Surveillance Camera Players
Upgrade and Repurpose
Jodi. Jodi.org. Joan Heemskerk (Bogotá) and Dirk Paesmans (Caracas)
Criticality in Art and Design
Combining things to make a new meaning. Usually more striking if both things seem unrelated at first glance. Idea of the ready made - dealing with the existing, working in context, re-examination.
William Burroughs - The Naked Lunch. Cut Up. Cut up filmstrips to create new associations.
Fluxus - John Cage, Tacit, 1960
Pop Art
Jasper Johns American Flag.
Andy Warhol, Cambells Tomato Soup
Punk - situationalist
Deconstructivisim Gordon Matt-Clark
Pomo Pastiche - Irony
Kitch - Jef Koons
Camp
Diane Arbus - margnal photographs.
Archigram - Plug-In City. Living within the network. Node/Links. Total node network. Networks about horizontality - flat space, infinite surface.
Nework continous and extended. Building has become the planet. Superstudio.
Megastructures. Archizoom. Non-stop city. The prosthetic extension of the human body through electronics. GIANT ELECTRONIC BRAIN.
www.instructibles.com
RepRap(?): Opensource rapid prototyper
Mash-Up & Remix Culture. Danger Mouse, The Grey Album, 2004
Negativland
Culture Jamming
Adbusters
Will St Leger
Surveillance Camera Players
Upgrade and Repurpose
Jodi. Jodi.org. Joan Heemskerk (Bogotá) and Dirk Paesmans (Caracas)
Criticality in Art and Design
Combining things to make a new meaning. Usually more striking if both things seem unrelated at first glance. Idea of the ready made - dealing with the existing, working in context, re-examination.
William Burroughs - The Naked Lunch. Cut Up. Cut up filmstrips to create new associations.
Fluxus - John Cage, Tacit, 1960
Pop Art
Jasper Johns American Flag.
Andy Warhol, Cambells Tomato Soup
Punk - situationalist
Deconstructivisim Gordon Matt-Clark
Pomo Pastiche - Irony
Kitch - Jef Koons
Camp
Diane Arbus - margnal photographs.
Lecture: Design and Postmodernity
Martine Dawley -Architectural Critic and Writer. Unconcious celebration. Design informing us about history - not the other way around.
Spaces of Modernism - umm, coulding find this book. Maybe it's in the Course Outline.
-ity: state, value, system, ideaology of root word.
-ism: the association, manifestation
e.g. materiality vs materialism
1960’s - Systemisation of design not possible.
1940’s - USA post WWII. Norman Rockwell. Capitalist Society. Levittown House. 17000 identical housing in an urban grid. Nature and women suppressed.
Postmodernism - about choice.
Feminism - about choice.
Therefore Feminism is Postmodern.
Second wave of feminism - quest for sameness. Women lib primarily focusing on males vs female issues. From 1970’s onwards it focused on other - disabled, race, gender(?). i.e. the marginal.
1960’s attention on surface as most/products equal in terms of function and efficiency. Attention to style as a differentiator.
Richard Hamilton
Ray Lichenstein - pop art.
Abstract Expressionism
1972 Coca-Cola vs de Kooning; Untitled
On the Road, Jack Kerouac
1964 Terence Conran, Habitat. LSD, riotous colour, stop needing started wanting
[ maybe an important transition time. Could be relevant for essay topic].
Mass Communication. Surface+Space=Power
1962 NASA Moon Landing. Neil Armstrong
1952 Ant Chair - Arne Jacobsen
1957 Egg Chair - ditto
1970 Apollo Space Rocket Design
Ettore Sottsass
Father of postmodernity. Red typewriter 1969 for Olivetti.
Memphis -Egypt. Piranesi influenced by Egypt as well.
Ornament becomes the object.
1971 Nixon - suspended convertability of US dollar into gold.
1973-1986 - oil crisis. Price of oil rose quadrupled.
NZ - Robert Muldoon Prime Minister and also Finance minister. Implemented protectionism that ended in 1984. NZ design stagnation until 1984 when Robert Muldoon replaced.
Cold War. 1940 to mid 1990. Ended really with the destruction of the Berlin wall.
1947-55 Korean War
1957-75 Vietnam War
Yamusaki - World Trade Centre
Postmodernism alienates and is subservient to capitalism.
1972 Charles Jencks end of modernism. After is post-modernism.
1976 Apple Macintosh is the biggest selling home? computer in the US.
1984 Apple Mac
Materialism
Philip Johnson - aluminium. Post war uses.
Robert Venturi - One of the three major writers of the century. Complexity and Contradiction.
Association important in structuralism. Simplification of signs. Iconography,
Michael Graves - Portland, Oregon, Municipal Building 1980.
Aldo Rossi - Modena Crematorium 1972-1976, 1978.
Structuralism
Faucault, Lacan, Levi-Strauss, Barthes
Semiotics - what an object means to you
[ I though this would be worth further investigation for essay].
Sign, Signified, Signifier
Roland Barthes
Media has subverted what fashion is. Code or association (dova) determines meaning.
Language determines the understanding of the sign. The word is meaningless. It is the association that is important. In language there is only signifiers.
The Poetics of Space - Gaston Bachelard
Michel Faucault (1926-1984).
The guard house. Observation/surveillance. Postmodern narrative is situational, provisional, temporary with no claim to universality, truth, or reason.
The holiness of science revealed as bas or distortion.
Structuralist narrative stressing the performative - doing what you say e.g. launching a ship.
Simulcra and Simulation, Jean Baudrillard, 1988
Functional Value
Exchange Value
Symbolic Value
Sign Value
Real vs Representation
Simulacrum - representation of something that is real.
Frederick Jameson - Anti-capitalist. “Post-Modernism, or the cultural logic of late capitalism”. Hi-tech fantasies are morally questionable Difference between copy and original is redundant. Breakdown of symbols, and symbol recognition.
[The last two books sound very interesting. I have got the Baudrillard one, but interested in Frederick Jameson as well].
Spaces of Modernism - umm, coulding find this book. Maybe it's in the Course Outline.
-ity: state, value, system, ideaology of root word.
-ism: the association, manifestation
e.g. materiality vs materialism
1960’s - Systemisation of design not possible.
1940’s - USA post WWII. Norman Rockwell. Capitalist Society. Levittown House. 17000 identical housing in an urban grid. Nature and women suppressed.
Postmodernism - about choice.
Feminism - about choice.
Therefore Feminism is Postmodern.
Second wave of feminism - quest for sameness. Women lib primarily focusing on males vs female issues. From 1970’s onwards it focused on other - disabled, race, gender(?). i.e. the marginal.
1960’s attention on surface as most/products equal in terms of function and efficiency. Attention to style as a differentiator.
Richard Hamilton
Ray Lichenstein - pop art.
Abstract Expressionism
1972 Coca-Cola vs de Kooning; Untitled
On the Road, Jack Kerouac
1964 Terence Conran, Habitat. LSD, riotous colour, stop needing started wanting
[ maybe an important transition time. Could be relevant for essay topic].
Mass Communication. Surface+Space=Power
1962 NASA Moon Landing. Neil Armstrong
1952 Ant Chair - Arne Jacobsen
1957 Egg Chair - ditto
1970 Apollo Space Rocket Design
Ettore Sottsass
Father of postmodernity. Red typewriter 1969 for Olivetti.
Memphis -Egypt. Piranesi influenced by Egypt as well.
Ornament becomes the object.
1971 Nixon - suspended convertability of US dollar into gold.
1973-1986 - oil crisis. Price of oil rose quadrupled.
NZ - Robert Muldoon Prime Minister and also Finance minister. Implemented protectionism that ended in 1984. NZ design stagnation until 1984 when Robert Muldoon replaced.
Cold War. 1940 to mid 1990. Ended really with the destruction of the Berlin wall.
1947-55 Korean War
1957-75 Vietnam War
Yamusaki - World Trade Centre
Postmodernism alienates and is subservient to capitalism.
1972 Charles Jencks end of modernism. After is post-modernism.
1976 Apple Macintosh is the biggest selling home? computer in the US.
1984 Apple Mac
Materialism
Philip Johnson - aluminium. Post war uses.
Robert Venturi - One of the three major writers of the century. Complexity and Contradiction.
Association important in structuralism. Simplification of signs. Iconography,
Michael Graves - Portland, Oregon, Municipal Building 1980.
Aldo Rossi - Modena Crematorium 1972-1976, 1978.
Structuralism
Faucault, Lacan, Levi-Strauss, Barthes
Semiotics - what an object means to you
[ I though this would be worth further investigation for essay].
Sign, Signified, Signifier
Roland Barthes
Media has subverted what fashion is. Code or association (dova) determines meaning.
Language determines the understanding of the sign. The word is meaningless. It is the association that is important. In language there is only signifiers.
The Poetics of Space - Gaston Bachelard
Michel Faucault (1926-1984).
The guard house. Observation/surveillance. Postmodern narrative is situational, provisional, temporary with no claim to universality, truth, or reason.
The holiness of science revealed as bas or distortion.
Structuralist narrative stressing the performative - doing what you say e.g. launching a ship.
Simulcra and Simulation, Jean Baudrillard, 1988
Functional Value
Exchange Value
Symbolic Value
Sign Value
Real vs Representation
Simulacrum - representation of something that is real.
Frederick Jameson - Anti-capitalist. “Post-Modernism, or the cultural logic of late capitalism”. Hi-tech fantasies are morally questionable Difference between copy and original is redundant. Breakdown of symbols, and symbol recognition.
[The last two books sound very interesting. I have got the Baudrillard one, but interested in Frederick Jameson as well].
Lecture: Design and Modernity
Post WWI - Russian Revolution and rejection of history and design ornament
Baroque 1600-1700 emotionally expressive. dramatic curvilinear forms. faith, power and prestige. ornamental and lavish.
Industrialisation
1712 Steam Engine
1775 James Watt
1840 Manchester - First industrial city in the world.
1851 - Crystal Palace - Joseph Paxton. Design synonymous with decoration.
1840 Dilemma of style.
1900 Arts and Crafts Movement. 1834 - 1896 William Morris “utility is just as important as beauty”. Simple forms and good quality
1889 William Morris. Carpet design and wallpaper. The social function of design.
1894 Luois Sullivan “Form [ever] follows function”.
1903 (1900’s) Frank Lloyd Wright - emphasis on primary forms coming through.
Werkbund (German Work Federation). 1895 Henry Van de Velde
Factory
site of production
worker
honest
pragmatism
opposite of art
1908 Peter Behrens - designer and consultant for AEG.
28 July 1914 - WWI 20 million military and civilian deaths. Loss of Rationality. Utopian fervour for a more rational world.
Russian Constructivists
1915 Kazimir Malevich. Suprematism.
1920 Alexander Rodchenko - Construction no. 127
1920 Vladimir Tatlin - Monument to the Third International
1925-30 YakovChernikhov - Fundamentals of Modern Architecture
1928 Katarzyna Kobro - Spatial Composition No. 4
Post-war health concerns. Metaphor for a bright new future.
Italian Futurism - SPEED
1913 Umberto Boccioni
Eintseins Theory of Relativity. Body and Space become one.
1914 Antonio Sant ‘Elia
de Stijl - Netherlands
1911 Piet Mondriam
The social aspects of design. Design has a socialist function: to make you a better person.
Internationalism of the Arts
The new, the social spirit of technology to transform the way people live.
Bauhaus
1919-1925 Weimar
1925-1932 Dessau
Ethos:
work
creativity
value
combining to make a total work of art.
Design as a collective process. Fine Art being the individual against the collective. Emphasis on craftwork.
1921 Marianne Brant
1926 Grete Lihotzky “Frankfurt kitchen”. The kitchen as a production line. An efficient kitchen.
Modernism starting to become a style (International Style) rather than a movement.
Baroque 1600-1700 emotionally expressive. dramatic curvilinear forms. faith, power and prestige. ornamental and lavish.
Industrialisation
1712 Steam Engine
1775 James Watt
1840 Manchester - First industrial city in the world.
1851 - Crystal Palace - Joseph Paxton. Design synonymous with decoration.
1840 Dilemma of style.
1900 Arts and Crafts Movement. 1834 - 1896 William Morris “utility is just as important as beauty”. Simple forms and good quality
1889 William Morris. Carpet design and wallpaper. The social function of design.
1894 Luois Sullivan “Form [ever] follows function”.
1903 (1900’s) Frank Lloyd Wright - emphasis on primary forms coming through.
Werkbund (German Work Federation). 1895 Henry Van de Velde
Factory
site of production
worker
honest
pragmatism
opposite of art
1908 Peter Behrens - designer and consultant for AEG.
28 July 1914 - WWI 20 million military and civilian deaths. Loss of Rationality. Utopian fervour for a more rational world.
Russian Constructivists
1915 Kazimir Malevich. Suprematism.
1920 Alexander Rodchenko - Construction no. 127
1920 Vladimir Tatlin - Monument to the Third International
1925-30 YakovChernikhov - Fundamentals of Modern Architecture
1928 Katarzyna Kobro - Spatial Composition No. 4
Post-war health concerns. Metaphor for a bright new future.
Italian Futurism - SPEED
1913 Umberto Boccioni
Eintseins Theory of Relativity. Body and Space become one.
1914 Antonio Sant ‘Elia
de Stijl - Netherlands
1911 Piet Mondriam
The social aspects of design. Design has a socialist function: to make you a better person.
Internationalism of the Arts
The new, the social spirit of technology to transform the way people live.
Bauhaus
1919-1925 Weimar
1925-1932 Dessau
Ethos:
work
creativity
value
combining to make a total work of art.
Design as a collective process. Fine Art being the individual against the collective. Emphasis on craftwork.
1921 Marianne Brant
1926 Grete Lihotzky “Frankfurt kitchen”. The kitchen as a production line. An efficient kitchen.
Modernism starting to become a style (International Style) rather than a movement.
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