Objectified: Content & Form

As Dave Harper asserts on his blog (borrowing from Paul Rand), "Design is the relationship between form and content." Often times, a design's success can be weighed upon heavily by how well the content (the idea behind a design) and the form (the visual aspect of the work as a whole) work together in a design. 

"Objectified" directed by Gary Hustwit

Poster design: Michael C. Place

The documentary film "Objectified" by Gary Hustwit showcases the interaction of form and content in many of the mass-produced items we use everyday. For example, near the beginning of the film, a team of designers are trying to design a better toothbrush. They are in agreement that the content, a teeth cleaning apparatus, is essential for every day life, but they feel the form can be improved upon. They proceed to try out different forms, such as reusable handles that will last years with removable heads that can be disposed of and replaced. They are able to find a way to convey their ideas of dental hygiene and environmental awareness through forms of stainless steel and wood, that are still comfortable to hold and use. The content and form go hand-in-hand, form perfectly expressing content.

One designer in the film, Karim Rashid touches on the idea that many designers tend to stick to popular and practical contents while repeatedly changing the form. He asks the question, "Why do we visit archetypes over and over?" This idea can be seen throughout the film when we see several different takes on the common chair. Each designer finds a different form with which to express the content of a place to sit. Designers are constantly looking at archetypes like this and finding forms that they feel better express the content, be it a matter of comfort, style, or functionality. These designers are using already existing content to inspire new and different forms. Not all designers work this way though, designer Mark Newson keeps random materials around his house, fragments of form, hoping to find inspiration for new content, from the already existing pieces of form. 

Whether the content inspires the form or form inspires the content is insignificant; what is important is that the balance each other out in a way that creates a product that expresses exactly what it is meant to in a way that is attractive, comfortable, and functional.

The Jooze Project

Browsing through the design.org blog, I came across this concept design by student Yunyeen Yong for a "juice company geared toward kids"(Patterson, Packaging Design: The Jooze Project).

source:"Packaging design: Jooze Project"

This design is a very cute, innovative way to appeal to children. The boxes are not only attractive to children because of their style, but are also very functional and up front about their contents.

Right away, our eyes are attracted to the slightly muted yet vibrant colors of the juice boxes. The colors are warm, calming, and fun, like many products made for children. The colors also aid in displaying which flavor is in each box, in a way that is more fun than simply having the text "apple" or orange" written on the label. Similarly, the geometric shapes of the juice boxes are reminiscent of actual fruit slices. The sides are even decorated with imagery of seeds to make to box look more like actual fruit. I have a feeling this aspect of straight-forwardness would appeal to children, who often prefer this kind of presentation to more complicated (and to them, boring) symbolic representations. At the same time, the flat surfaces on the "fruit's" exterior gives the juice boxes very stable foundations which could prevent spills and messes, an aspect the kids might not even think of, but the parents would surely appreciate.

With out even knowing it, kids would choose this unique, thoughtful product because of what's inside, simply because the outside reflects the inside in such a fun, appealing way. 

Gap Logo Change?

Gap caused quite a bit of buzz this past week after it revealed, and quickly scrapped a new logo design. This article from bloomberg.com, "Gap Scraps New Logo After Backlash, Revives Blue Box" retells the whole saga, in which Gap fans responded with an "outcry on its Facebook page" causing the company to trash this new design:

Source: Gap.com via Bloomberg

I can see why there was such a poor reaction to this new design. It is underwhelming to say the least; in fact I would categorized it as under-designed. Considering what a large company Gap is, I would imagine they would hire an experienced, creative designer to design something as important as a logo. This new design though, looks like something the designer's middle-schooler child could have created. Not bad for a twelve-year-old, but tacky for a company as big as this. The font alone doesn't read "Gap" at all; it make work with bold red in a logo for Target, but I doubt this redesign was aiming for a "Target" aesthetic. Then there's the tiny blue square; maybe it's a nod to the old "blue-box" design, but here it looks completely useless and out of place. Thankfully the company listened to its customers' disapproval, and is going back to it's classic, old design:

This design is right in all the places the new one is wrong. The solid, bold, navy blue background coupled with the tall, slender, serif-font reads "sophistication" and  "classic" . The real place where Gap went wrong was trying to re-vamp the logo in the first place. I understand that times are tough and the company is trying to "modernize" it's image, but its logo is the one thing that should be untouchable. It is unique, iconic, and perfect for the brand, but most importantly, it is recognizable. This logo is Gap, change that and you might as well change the whole company's name.

Compare/Contrast

Although the old saying “Don’t judge a book by its cover” remains good advice when pertaining to music, a good album cover can add to the value of what's inside when well-designed and creative.

These covers for two albums by Elizabeth Mitchell, designed by Sonya Cohen Cramer, are perfect examples of well-designed album cover art.

Elizabeth Mitchell (singer-songwriter), You are my Little Bird (2006) and Sunny Day(2010), CD cover designs by Sonya Cohen Cramer, with artwork by Ida Pearle. Copyright Smithsonian Folkways

The two designs are very similar to each other in style and color scheme, yet each compliments its own unique title and contents, and remains an independent, successful piece of art and design.

When I look at these album covers I can tell right away that these CDs are intended for a younger audience, but unlike many other children's CDs and television shows, it's not because of in-your-face coloring or cutesy cartoon creatures. With these CDs , it is instead the simplistic yet sophisticated style  and fun but muted colors that give these a very peaceful, delightful feel. For example, both feature a wide range of colors; however, the colors are presented in a very artful, thoughtful way. They are not too saturated or overwhelming, but muted and complementary. Also, in both covers, each shape in the picture is separate from the others; there is virtually no blending or shading. It appears as if the shapes were cut from separate pieces of construction paper and layered to form a whole picture. This aspect alone makes me feel nostalgic, remembering the joy of arts and craft time in school. I think the fact that these pieces are reminiscent of something a child might make is appealing to children in a relatable way, and to parents in a sentimental way.

As much as these covers are uniform in many aspects, they are also different in many ways. The first album cover, "Sunny Day" is a bit more complex than the second, "You Are My Little Bird". While "Bird" features a plain blue-gray background, "Sunny Day" conveys a whole scene: grassy hill, blue sky, and shining sun.  "Sunny Day" is also slightly more detailed, with patterns in the tights, shoes, and dress, as well as texture in the sky and grass. This extra layer of details creates an entire scene on the album cover, a brief moment in a fun day at the park on a sunny day. This cover has a very warm, calming feel and very well represents its title "Sunny Day". "Bird" on the other hand, is very flat. We see children jumping in play but we don't see where they are. Although this does not tell a story like the other cover, it doesn't matter because this cover represents purely the essence of the moment: fun, joyful, carefree.

It seems both the similarities and differences of these pieces add to their overall success as designs. I'll admit it, even knowing these are considered "children's albums", I have an urge to check them out. If these albums have the ability to appeal to the inner-child of a recently turned "adult" then I have faith they will be equally, if not more, successful with their intended audience, kids.

Design As A Conversation

What is design?

Is it an art form? An expression? A functional item? An action? A plan?

I would argue design is each of these things. In fact, design almost begs not to be tied down to one definition. There may very well be more things in this world that design is, than isn’t.

One of the things that design is, is a conversation. Usually this means a conversation between designer and consumer. Take Youtube duo Rhett and Link for example; in their quest to design what they call the “Mystical Shoe”, they asked for direct help from their audience. Viewers were able to log on to a website that allowed them to create and tweak their own shoe designs, showing each other, as well as Rhett and Link, what they would like to see on the Mystical Shoe. The final product looks like this:

http://tweakfootwear.com/Shoes/the-mythical-shoe/

This shoe features design aspects that were most prominent in the viewers’ designs: sneaker-style, hi-top, guitar-pick slot, customizable sleeve, etc. In this case, the action of design was carried out through a direct conversation between the designer and prospective buyers. The final design, the product, is an expression of that entire conversation, bundled into one shoe.

Design doesn’t always have to take place in a conversation as direct as in this example. Sometimes the action of design is purely an expression of something from within or without the designer, and the finalized product is where the actual conversation takes place. For example, the (red) line of products is designed with the needs of Africa in mind. The final product is the medium through which the designer converses with the public, telling the world about the needs of others. The consumer replies by consuming, showing support for the cause and contributing money.  

I think this ability of design to be a conversation is essential to its being. I don’t believe it is possible to create, to design without something being expressed and something being received. Without an expression of some information from the designer to the consumer, there would be nothing of substance to produce. Without the consumer’s act of receiving an expression and replying with approval by buying it, there would be no point in designing in the first place. This two way exchange, the conversation, is design, if only one of many definitions.

            

Design: industrial process vs. arty concept

"What leads design, artistic concept or function?"
This is the question the Milwaukee art museum wants us the ask ourselves. According to this article from the Associated Press, the museum's latest exhibition "European Design Since 1985: Shaping the New Century" features hundreds of "mass-produced everyday items." So what sets these items apart from all the other tables and sponges and vacuums? What allows them to be viewed in a museum as fine art? I would argue that these items gain special recognition because they refuse to answer the prior question. It seems the designers of these products were driven by artistic concept as well as function.

Take the Dyson Vacuum:

The design is obviously eye-catching. The juxtaposition of rounded and straight edges as well as the bright yellow and muted gray colors give the vacuum a very unique, intriguing look. It is apparent that it was designed with visual appeal in mind, however almost every piece of this "art" is also a part of the bigger, functional item. The large yellow sphere at the base adds to the (dare I say) beauty of the item while also allowing the user to maneuver the device more easily.

So to those who may scoff at this exhibit, or are just plain confused, I would say that these items are products of design, and design at its best is a product of art. The designers of the items in this exhibit have expressed an ability to focus equally on function and fashion, to use their creative eyes as well as their technical eyes. I cant think of a more appropriate place for these works of art than an art museum- except maybe a consumer's hands.

Creativity From Without

Being an artist often involves delving deep inside oneself to find inspiration, be it through expression of emotion, or in nostalgic memories. Many artists can, and certainly any great designer must be able to also find inspiration from without. What this means is, in order for a designer to produce a successful, universally pleasing finished product, he or she must allow inspiration to come from the materials being used, the prospective users of the product, the environment in which it will be used, etc.

I think this is one of the defining differences between pure art and pure design, though the two overlap in many places. Art is usually made for the artist, sometimes only for the artist. I consider myself an artist and I certainly create works that are purely for me, produced from my own emotions and thoughts. Although I may share the art with others, its sole purpose is my own expression. This piece is  perfect example:

I also consider myself a designer, if only in the very early stages, and I have also created works in which I have not necessarily expressed any feelings from within but have allowed myself to be inspired by that which I was painting, or designing with. In this painting I was inspired by the shape and colors of these Easter play-doh containers:

Likewise, here I was inspired by the style of the store I designed this ad after, and the natural essence of our Environmental club I designed this poster for (as well as the fact that the concert was held around Valentine's Day).

As designers, we need to reach a balance in where we find inspiration. If we focus too much on what we are feeling within, we risk producing something that no one other than ourselves can relate to, which is a sure sign of poor design. Likewise however, if we have absolutely no emotional ties to our work, it will seem simply uninspired. There is nothing wrong with finding inspiration from within, but as designers we have to be able to also find inspiration from without, so that we can share our visions with the world in a way most everyone can appreciate.

Stone Soup

"Stone Soup" 

If someone had said this phrase to me a few weeks ago, I probably would have assumed it was some sort of poorly new-age recipe; however,  thanks to my design professor I now know it is the name of a very charming children's book by Marcia Brown.

The story follows three soldiers who arrive to a village with nothing more than a pot and without villagers offering any food. They begin making "stone soup", boiling water and dropping in a large stone. The villagers become curious about the peculiar soup and begin offering items of food: some carrots here, some spices there. Soon they have a large pot of delicious soup to share. 

Although we didn't make a giant pot of soup during class, we did incorporate the idea of sharing resources and working together into a design project. Separated into small groups, we were asked to bring whatever "ingredients" we could (cardboard, paint, string, etc) to add to our group's Stone Soup. 

As our group spilled outside we each tossed our supplies onto a very large, diverse pile and I could tell we had a lot to work with. I was instantly intrigued by a couple boxes of Christmas ornaments and I could see everyone else in my group examining the pieces that had immediately stuck out to them. And so we began throwing our ingredients into the pot of soup. With no real plan in mind we began creating small pieces of individual art and blending them together on our make-shift base.  

After coming to the consensus that our piece was complete, we stood up to take a look at ours and others. I was pleased to see how completely different the other groups' Stone Soups were. Starting from an entirely different set of materials and ideas had produced very different finished pieces, all extremely creative and interesting.

The exercise reminded us of the importance of working together in the design world. Every single designer has his or her own set of unique ideas and skills, but there are virtually no design projects that are done completely alone. We must learn to mesh our ideas together, create new ideas, use one another's skills to better the project as a whole, and end up with a finished product that we are each proud of, knowing that we couldn't have possibly done it all alone.

Green Design

Today as I was browsing design.org, a particular link caught my eye "Interior Design: Recycled Lamp Shades". I consider myself an environmentalist and my main interest in design is interior architecture, so the title was intriguing enough. The page contained pictures of several different lamps made by using recycled items such as bottle caps and beach balls. Each lamp is very different from the others, but they all look excellent in their respective rooms. Despite the fact that they were made from reused items, each lamp looked somewhat expensive, as if it could be bought in some fancy downtown boutique.

Although this act of using recycled items to design something new is not completely new, the post was still very interesting and pleasing for me to read. It reminded me of the vast spectrum of products design has to offer, virtually infinite possibilities. Design is not simply how something looks or even what it does; design is also the process of getting there. It is the concept and resources used to arrive at this final product. Design can be utilized to encompass not only ideas of style and function, but also art, emotion, resourcefulness, innovation and just about anything the designer wishes to include. I think that is what really makes a great designer, someone who sees design as not a destination but a process, and someone who is open to including in that process just about anything that sparks the imagination, and produces a real thought.


Featured lamp: Made with recycled film slides by Sabina Batelman.

NYC Mosque Design

Article: Park51 blog-First official renderings

I recently came across this blog in which the Park51 organization behind the Mosque to be built in NYC reveals photos of the design that its architects have conceptualized for the building. This Mosque has caused much tension due to its controversial location (just a few blocks from the Ground Zero site). However after seeing what the building may look like, I am hopeful that this Mosque may finally be talked about for a completely different reason: its stunning, innovative, aesthestic appeal.

The front of the building appears to contain a chaos of different geometric shapes created by intersecting various lines, reminiscent of the geometric cells of honeycomb. The interior of the building appears to continue with this pattern, with floors connecting through large shapely openings in the floors and ceilings of each, by way of escalators. The color of the entire interior and exterior of the building in the photos is white, and the spaces between the shapes of the front act as windows letting in a considerable amount of natural light. The openness of the whole design and the abundance of natural lighting gives the Mosque a very comfortable and spacial feel. This is a breath of fresh air compared to many other high-rise buildings that tend to feel enclosed and somewhat synthetic, almost like the uncomfortable feel of a hospital. Also, the fact that neighbor floors are not at all closed off to each other makes the whole Mosque feel very cohesive, despite the fact that it is a considerably tall building with many levels. The overall design gives the building a very positive atmosphere, evoking feelings of openness and calm, while also intriguing the eye with its complex and unusual design.

The location of a building may have the power to make people talk, but the design has the ability to make people stop, look and really think. It's appearance is the very first thing we notice; it gives us an impression of the building before we even enter it; I think the architects of this building made great use of this fact. If people can set their political agendas aside for just a moment and really look at this building I think they can reexamine the possibilities this Mosque has to offer.

First Encounters With Design

The Brain Ball.

This peculiar, oblong, orange "ball" may not have single handedly defined my childhood, but it sure left an imprint.  The ball itself doesn't actually connect me to any exact memories yet there is something in the appearance and feel of it, the design of it, that links me ever so concretely to my childhood. Even now, when I pick up the anatomical toy and feel its peculiar contours I am overcome with that familiar and wonderful sense of nostalgia.

I remember thinking it was the most unusual and amazing toy I had ever seen. Even the packaging, a tall plastic cylinder, amazed me; it resembled something out of a sci-fi movie. As soon as I reached in to pull the ball out, I was met with the soft, familiar, feeling of Nerf. The Nerf material in general is a very thoughtful design; firm enough to hold the shape of a any ball (or even brain), yet soft enough to be played with indoors and around smaller children. As familiar as the Nerf feel was, nothing else about the Brain Ball seemed normal to me. Although I had never seen a brain in person, I was pretty sure they weren't neon orange; that color didn't scare me away though, it invited me closer because I, and every other child of the 90's knew orange meant Nickelodeon, and Nickelodeon meant fun.

Obviously, the most memorable aspect of the design of this ball is that it looks like a brain. Although it may seem random or odd, this design was and continues to be, extremely successful in my eyes. As a child, it evoked a sense of mystery and wonder. It made me think about brains and humans and thoughts. And yet its design still allowed for the simplest of uses: play. I still use it for play now, and although it doesn't seem quite as mysterious, it does have the mysterious power to make me a child again, if only for a fraction of a second.

I think that's where the true beauty of design comes from; it has the ability to grab hold of our senses and transport us somewhere completely outside ourselves, be it a dress that evokes the fashion and romance of Paris or a strange toy that reminds us of the adventure and wonder of youth.



Photo credit: http://gizmodo.com/5588886/nerf-gallery/gallery/3