OBjectiFieD

Gary Husweit's film Objectified, is a fresh look into the design industry, the people behind the products and the process from  conception to completion.  The documentary revisits the quintessential insight of every object we own, everything we see, touch buy and sell, was at one point created by a designer.  It's a true and often overlooked fact that most of the tangibles we come across in our daily lives were once someone's dream. Objectified shows how the process is often a tedious one, and considering how competition can innundate the market, the nuanced details mustn't be overlooked.

The film touches on the different components that make a design successful or fail to do just that.  Good design is "honest" design.  It makes a product understandable.  It is consistent in its features.  It is environmentally friendly. It exhibits as little design as possible.  People often blame themselves when they cannot understand the workings of a product.  This is often times the fault of the design itself.  Design should be visibly "legible" to the user. Any user.

In the movie, Apple computers is coined one of the only businesses to take design seriously.  And really, I can affirm from experience the design is, in fact, brilliant.  Not only has Apple minimized its parts to the bare necessities with the MacBooks, they've created an interface so completely intuitive it doesn't require much to navigate.  One designer featured discusses how a good design really goes unnoticed, directing the sole attention to the function of the object itself. For example, I rarely notice the physicality of my MacBook.  I become oblivious to it and engrossed in what I happen to be using it for.  Plus, it has an amazing light-up keyboard that enables me to even work in the dark!  In good design, form bears no relation to function.  A cell phone is not meant to look like any type of telephone prototype.  It's a small rectangular device whose shape makes no indication to what it actually does.  Another interesting insight made was that of product evolution.  Take the camera, for example.  The shape of the camera has evolved in this continual rectilinear shape.  Its shape originally coincided with the "form follows function" discipline, however, the previous form was designed form film.  Nowadays, digital cameras saturate the market, meaning no use for film.  Yet, the same same prototype is still being reproduced.  It begs the question of whether or not design has really come all that far if manufacturers and designers are still creating products that don't bear a need for the original shape.

The film also revisits the current dilemma about products and their degree of sustainability.  One designer posits that any object whose shelf life is under 11 months must be completely disposable.  Ironically, most products are made for the 10% of the population that don't need more products, while 90% of the population do not have basic products and services to sustain the essentials of life.

It's obvious from the film just how much time, consideration, collaborating and prototyping goes on in the design process.  Objectified shows are designers, generally speaking, are thoughtful in their approach and have a genuine intention to make life better, more efficient, more convenient, more functional.  That really is the purpose behind design anyway, right?

Design and Evolution: Streamlining and Eugenics

When taking the design of Streamlining into account, there are a few obvious facets: the long horizontal lines, asymetrical shapes, smooth curves and suggestive motion in the overall form.  It's really quite a beautiful style of architecture, along with its contemporary cousin, Art Deco.  Some experts theorize streamlining mimics the sociopolitical ideals of eugenics with its aerodynamic form.  Both streamlining and eugenics coincided at a time of political and social upheaval, with an emphasis in creating a more stable future through social and economic sectors.  It arose at a time when there was a strong push to "cleanse" our society of social misfits and outcasts in attempt to create a more aryan and less diverse nation.

The basic notion of streamlining involves pairing down anything superflous to the bare necessities.  It literally strips away any ornamentation and extraneous materials to that which is simplified, purely functional and efficient.  The idea shape is that of a tear drop,  when this shape is immersed in moving water, it is the most effective in avoiding any drag within movement.  According to Christina Cogdell, UCD lecturer and author of Eugenic Design: Streamlining American in the 1930's,  goals of streamlining include: "controlled evolution of product design, increase efficiency and speed, hygiene and sterilization, along with creating the idea type to hasten the arrival of utopia."  Streamlining parallels the goals of eugenics in the to attempt to control the evolution of human race, creating the ideal human fit for society.  It also attempted to create a sort of "race hygiene" through sterilization.  Both attempt to control their environment and create a type- a physical manifestation of purity.

This is not the first occasion in history that design has followed evolution theories.  Louis Sullivan, a Chicago based architect in the early 1900's  based many of his designs off of the modernist discipline of 'form follows function.'  His practice actually generated from Lamarck's theory of evolution in that the physical manifestation will be structured according to its function and purpose.  Sullivan's work clearly displays this through ornamentation, structure and form.

I think Cogdell's research is a bit of a stretch considering there are no direct links of designers specifically referencing eugenics.  However, she does make  a compelling argument, nonetheless,  and offers solid links between Norman Bel Geddes (an industrial designer and streamlining pioneer) and his own "hobbies" of housing an aquarium of approximately 2,000 species for observation and "breeding purposes." (Cogdell, Eugenic Design, 1).

Whether you agree with the arguments between design and evolution, they remain interesting nonetheless, and pose the relevant question: To what degree is design directly reflecting social or political movements at large (historically or currently speaking)?

Nathan Shedroff and Experience Design

Nathan Shedroff,  pioneer of 'Experience Design', author and industrial designer, spoke as part of our Design Series lectures last week, discussing sustainability in business practices, along with the social consequences of design and its ecological impact. Shedroff poses two important questions for designers such as "What does a sustainable world look like?" and "What does a post-consumer world look like?"  While he admits we don't currently have any concrete answers to these questions, he did indicate several cultures with a greater sustainable index, such as cities in Cuba, India and Brazil.  While these countries certainly have their own share of crises, they are the least rated in consumption and most sustainable on the planet.   He also makes poignant insights about the current systems of sustainability which are often regarded for ecological impact, but often neglect to address the overall social and fiscal sectors.  Some frameworks are incomplete in their analysis, and others are simply not applicable or cost effective in the process.

 In his new book, Design is the Problem; The Future of Design Must be Sustainable, Shedroff emphasizes systems thinking and posits that most system frameworks are poor indicators of success.  One of the most relied upon models, the Gross National Product, for example, gauges economic progress through consumption and production but neglects to examine our social welfare, crime, resource depletion, health care. The GNP literally thrives off of disasters (natural, divorce, etc.) and while it may measure fiscal output, it's a horrible indicator of whether or not our nation is actually thriving, which clearly is not the case. On the other hand, the Genuine Progress Indicator (GPI) is a much more reliable system in measuring progress through household and community contributions, environmental damage, higher education, crime, dependence of foreign assets, income distribution and defense expeditures.

According to Shedroff, businesses are becoming more conscious in their practices, often after realizing the effect their actions will have once passed down to future generations of their own kin.  It's an important realization, that we're not the only ones who will suffer the consequences of our actions as a society, and that most of the effect of today's choices will take years, if not decades, to emerge.

Shedroff also had some great insights about our culture and consumption over the last 50 years.  Throughout the 40's and 50's, conservation was actually valued among Americans.  Saving, conserving resources and innovative uses of existing materials created a sense of pride.  Nowadays, our capitalistic society promotes consumption in an astronomical fashion.  We've adopted the mindset of careless abundance, and have created a sort of partnership with manufacturers, continually aquiring more unnecessary objects, products and services.  The information age has been somewhat of a blessing in this area;  Tech manufacturers are now producing products that serve multiple functions.  Think about what the typical cellphone has replaced: a watch, cd/tape player, alarm clock, answering machine, computer, calculator, daily planner, address book and camera. That's actually quite amazing if you think about it.  Since most of the impact occurs during the manufacturing process, this is an incredible reduction on transportation impact and natural resources.  In turn the final product also reduces waste to approximately 12 square inches.  Sweet.



One professor during the lecture asked what 3 things can we, as designers, do to help alleviate our current situation and create a more sustainable future.  Shedroff's answer was vague and didn't give any specific examples (other than following the systems framework), which struck me as odd.  I guess it just goes to show (like he mentioned to begin with) that we really don't have the answers just yet.  However, the more aware we become, the more we increase our capacity to respond to the current dilemma. It's really up to us to make a difference. Designers have a tremendous responsibility these days and have no other choice but to use our skills, talents and smarts wisely.

Paper Art

Sustainability and Consumption

The video from Postopolis features 3 players in the industry all of whom share great insights into sustainable design for this day and age. Graham Hill of Treehugger, Susan Szenasy of Metropolis, and Allan Chochinov of Core77 discuss the complexities about what makes for a more sustainable practice. An example mentioned is the use of wood or steel in housing. One is more natural but with a minimal economic life and requires the demise of forests. The other has a higher embodied energy but requires mass resources to produce. It goes to show there are no simple answers in sustainable development, however, the considerations are endless in deciding what is least harmful and most beneficial over the long haul.

Another important insight mentioned is that of consumption. While the emphasis on sustainable production and design are paramount to reducing our carbon footprint, it serves little purpose without a shift in our own attitude and habits. Our culture consumes as though there is an endless supply of everything: resources, materials and products, food systems. It's imperative that we start closely examining the patterns of everyday life and becoming more aware of what we consume, whether our consumption is necessary, and to what degree we prioritize convenience.

There is an inherent mindlessness in regards to consumption and origin. This attitude shift will also mean cultivating an awareness in how what we consume came to be, whether it be food, appliances, gadgets, resources, etc. For instance, a while back I started paying close attention to packaging: to go containers, bags, disposable containers, etc. I reuse as much as I possibly can (including ziplocks and other tupperware-like disposables), purchase minimally and in higher quantity when possible. It takes baby steps (at least for myself) but the more aware I become about my own consumption patterns, the healthier and more sustainable my choices.

Energy of a Quilt

There is something undeniably magical about the quilt. The process, origin, patterning and the cohesive quality that brings bits and pieces that function as a whole. It brings a new perspective to the phrase "fabric of our daily lives." The Nelson Gallery is featuring an exhibit on quilts, many of which originated in the 19th and 20th century. Two in particular were eye catching with their use of rhythm and patterning. One consisted of a series of narrow rectangles pieced together creating smaller squares within one another, thus producing a circular motion. The eye jumps from color to color in a clockwise motion, guided by the linear shapes of each piece. The colors range from bold and striking, to subdued and neutral. Most of the patterns were small and detailed, giving the quilt a more ornamental feel against a geometric framework.

What is striking about quilts like those of the Nelson Gallery, is the careful precision taken in crafting each piece. I've attempted to quilt myself, and admittedly have come out unsuccessful and incredibly frustrated. It definitely takes a detail-oriented person. It is a patient methodical process, repetitious in itself, with the end result reflecting such repetition in its design.

There was something about this exhibit that reminded me of a recent Andy Warhol exhibit at the De Young Museum. I had never been much of a Warhol fan until understanding his intentions behind his work. His use of repetition was not out of lack of idea or creativity. The result of repeating something over and over and over until it ceased to hold meaning, is what helped give his work meaning. With repetition there exists a sort of emptiness, allowing the piece to mirror more of the viewer and create a meaning all its own. The rhythm of quilts create the same kind of emptiness, while simultaneously evoking the energy of its history and origin.

Costuming on Hallow's Eve

Ahhh Halloween. You gotta love it. The candy, costumes, silliness, spookiness. Plus, it's the perfect means for embracing the shadow, the dark side and all its creepiness. Americans are so serious these days. Halloween is a nice break from all that and a chance to awaken those subconscious parts inside us, letting our hair down, so to speak, and doing it with a collective encouragement from those around us. Death, birth, the grotesque, the sublime, the sexy and novel all come to life during Halloween. Through costume, we're afforded the freedom to explore different archetypes within ourselves and connect with others in a way that defies most social norms and barriers. Our exterior world and our inner selves become the muse of our own theatre. Through costume, we're able to design a new persona and give life that that which is largely unconscious.

It's also interesting what the happenings of Halloween seem to say about our culture as a whole. Americans generally value a sense of individuality and autonomy. We are slightly narcissistic creatures, in case you haven't noticed. Our costumes always seem to reflect this, with an emphasis on being different or innovative in our design approach. This certainly is not the case everywhere. I had a friend, who after spending Halloween in Japan, was stunned (and a little creeped out) to see the streets flooded with hundreds of generic ghost costumes. In a culture that places less value on individuality, the emphasis followed the norm and was clearly reflected in the mass costuming.

This Halloween, the costumes (and personas) appeared to be more outlandish than ever. Of course there will always be the classics, but people are getting more and more creative these days. Having been witness to a plethora of amazing costumes this year, the best, I realized, all had the following in common:

1. A visual display of a greater concept or idea that was obvious from first glance. As cool as a costume may look, if I have to ask "What are you?" The appeal is slightly lessened.
2. Innovation and Attention to detail. Nuff said.
3. Themes. Why have only one cow when you could have a whole herd?
4. Acting the part. The best costuming is done, not simply for visual stimulation, but to actually embody a character and come to life as something other than yourself. It makes room for a new way of connecting with others in ways that break common social barriers. We learn more about each other through costuming and we often have more fun!

I've attached some photos from the next door neighbor's annual Halloween bash. Careful though, as they're not for the faint of heart! And yep, that's me with Bert and Ernie!

The Aptera

Due to the current environmental crisis, sustainable design is more important than ever. And considering the finite supply of current fuel resources, solutions for alternative transportation is paramount to the functioning of our vehicular dependent society.

Meet the Aptera. An independent motor company based out of Carlsbad, Ca and founded by electrical engineer Steven Fambro. The Aptera has been in the works since 2005, and has been scheduled for release 3 months for the past year and a half. It's a futuristic-looking, two-seater, three-wheeled model which resembles the likes of an airplane and spaceship. It also comes in hybrid and electric configurations and gets a whopping 300 mpg. The other good news is its price tag; Aptera's will be priced between the $30,000- $40,000 range, with the base model somewhere around $25,000. Not only is it efficient, sustainable and cool, its manufacturers recognize the need to distribute to a wide market. This is not the vehicle of the elite. This is the vehicle for anyone. www.aptera.com

The Aptera is a great example of solution-oriented design. Clearly, our society is in desperate need of alternative solutions to the transportation dilemma. The Aptera not only provides a solution through efficiency, it also does it through an innovated model. The "shell" of the Aptera is completely original in design, defying the expectations of what a vehicle should appear to be. Since its manufacturer is independent, let's hope their motives are more altruistic than simply meeting the bottom line. Car manufacturers, politics and oil companies are so entangled with one another, the priorities of our environment and generating sustainable products have taken a backseat to profit margins. I commend Aptera for going against the motor-trend grain and developing a product that counters the petroleum-reliant model.

I have high hopes that the brilliant design of the Aptera will spring a new trend among automakers across the globe, reducing our carbon footprint and restructuring a facet of our culture so integral in our ability to thrive.