Northern Design Report -- The Cage of Aesthetic Convention
Stasis in Industrial Design and the necessity of the Avant-Garde
by Stuart Walker
Abstract
In this paper the argument is made that, in order to deal effectively
with many contemporary issues of environmental degradation and social
disparity, we must radically re-think our notions of material culture.
Potentially, the design profession can make significant contributions
in this area through the development of design solutions that challenge
precedents and demonstrate alternative possibilities. Such a direction
requires a rethinking in design education and design practice, as
well as new understandings of product aesthetics and our notions
of 'good' design.
Introduction
The focus on the definition of product appearance, in both the industrial
design profession and design education, renders product aesthetics
hollow and superficial. This preoccupation prevents industrial design
from evolving into an authentic, substantive discipline that effectively
addresses important issues of our time. For example, one of our
most pressing contemporary concerns that is not being effectively
addressed in the field of product design and manufacturing is sustainability.
Other concerns, not unrelated to sustainability, include notions
of meaning, identity and culture associated with the design and
production of our material objects. The dominance of fashion-oriented,
essentially trivial aesthetic definitions suggests a barrenness
of thinking, a relinquishment of creativity, and a replacement of
originality by bland, market led, 'safe' solutions.
Design and Diamonds
Some years ago, when I was studying engineering, I heard it said
that the majority of the world's diamond production was for industrial
applications. There are huge markets for industrial diamonds - for
cutting tools, drill bits, abrasive wheels and grinding tools. These
low-grade diamonds, which have no special optical qualities, are
crushed into grits of various sizes. Apparently, because of the
high demand, and the relative rarity of gem quality diamonds, many
of the mineral processing systems have been geared towards the production
of industrial diamonds. In this process the ore is crushed to the
size of coarse sand and the dense diamond grit is separated out.
With such a system there is no possibility of finding another Hope
Diamond or Great Star of Africa - they are simply eliminated by
the process.
Obviously, we need industrial diamonds, but we also need the Hope
and the Great Star of Africa. The Great Star of Africa is about
as close to a diamond-embedded industrial disc cutter as chalk is
to cheese. Industrial diamonds are valued for instrumental reasons
- they are a means to some other end - they are valued for their
utility. They are used, they wear out and they are replaced. The
Great Star of Africa is valued for how it shines, how the light
plays through its facets to inspire sheer awe - but it is totally
useless in terms of function. The Great Star of Africa is not about
function. Its about poetry and beauty and wonder. It is an end in
and of itself. It has intrinsic value, it never wears out and it
is irreplaceable.
In some ways industrial design - in both education and practice
- is not unlike industrial diamond processing. It tends to emphasise
the production of competent, practical and useful design solutions
that conform to current norms and work within established notions
of aesthetics, manufacturing, economics and utility. Accordingly,
our mass-produced products are generally useful, ergonomic, convenient,
economic, and have a pleasant appearance.
However, there is also a need to generate solutions that defy current
norms, that challenge convention, that re-conceive what design,
production and products might be and, importantly, to create solutions
that inspire. To do this we must ensure that such solutions are
not automatically rejected or eliminated by the processes we have
put in place, in both design education and design practice. For
original thinking to flourish in design we must value and nurture
the unfamiliar, the atypical and even the perplexing, in addition
to technical competency and design proficiency. Inevitably, creative
insights and ideas that are of lasting value will be rare and hard
won, but they are urgently needed in today's industrial design milieu.
It is important to acknowledge that, over the past century, there
have been many inspiring examples of design that have challenged
prevailing stereotypes and stimulated and influenced subsequent
designers. Historically, the work of van Doesburg, Gerrit Reitveld
and the De Stijl group in The Netherlands from 1917 (Overy, 1991),
and of the Bauhaus designers in Germany, such as Marcel Breuer and
Gunta Stölzl, in the period 1919-1933 (Whitford, 1984), had
an enormous effect on 20th century design, and their legacy is still
highly influential. More recently, the work of the Memphis group
in Italy during the 1980s had profound effects on design education
and practice (Dormer, 1993). In their time, these groups were highly
innovative and ground-breaking; they were also of their time. The
issues and agendas they were responding to are not our issues and
agendas. Today, we are facing new challenges associated with the
globalisation of industrial capitalism, the environment, national
and trans-national socio-economic inequities, major technological
developments, and so on. While incremental developments that address
these issues are important and necessary, it is also essential to
encourage ideas that break with convention, that test preconceptions
and, potentially, re-frame our notions of product design and post-industrial
material culture. The 'Droog' designers, again in The Netherlands,
are dealing with some of these contemporary issues in innovative
ways that lie somewhere between art and product design, between
clarity and ambiguity, between seriousness and wry wit. It is quite
appropriate that many of the Droog designs defy existing classifications
because part of the process of rethinking the current place and
role of industrial design is to reconsider its boundaries and scope
(see Ramakers and Bakker, 1999; Ramakers, 2002; Droog Design website).
Preconceptions in Design
When the aesthetic definition of a product is regarded as a primary
objective, in and of itself, we must consider from whence our aesthetic
decisions are derived. Personal experience, memory, notions of taste
and conventions of beauty are all sources. However, it is these
very conventions that have influenced, configured and, to an extent,
determined personal experience, memory and taste. Here then, is
the paradox of aesthetic definition. It is informed by convention
- our conventional notions of beauty and taste. But it is this very
influence of convention that results in the endless regurgitation
of variations on a theme and imprisons product design in its own
cage of introversion. The derivations and repetitions that result
disregard and deny the necessity of innovation that lies at the
heart of aesthetic expression. While many contemporary products
may have the attributes of being economical, convenient and pleasant
to look at, they also tend to be monotonously mundane, inherently
destructive of the environment, representative of grossly inequitable
employment practices, culturally damaging in their blanket distribution,
and ethically questionable in terms of their marketing. These observations
have an honourable precedent. Over twenty years ago the design critic
Stephen Bayley spoke of the 'plateau of mutual pastiche' that determined
the appearance of so many consumer products (Bayley, 1980)
Rather than viewing aesthetics as a direct aim, it can also be
considered as an outcome of an approach to product design that has
different objectives. Industrial design can then focus on the meanings
of material culture and thus develop and evolve. Ironically, in
doing so, aesthetic definition will also evolve, unconstrained by
the customs and precedents of product definition. In other words,
aesthetics will begin to be more profoundly related to the whole
of what a product is. Consequently, the aesthetic definition of
a product, when derived from a different source will without doubt
challenge current norms. It will find its own place as an outcome
rather than an all-consuming aim. In doing so, product design can
respond creatively to the critical issues of our times in ways that
are thoughtful, considered and inspiring.
The rejection both of 'convention' and of 'aesthetics as a direct
aim' is not, however, a rejection of history and experience, in
fact quite the opposite. History and personal and cultural experience
can be embraced as providing important insights and nourishment
for product definition. A nourishment that is urgently required
if we are to effectively address contemporary issues in ways that
overcome fads and fashions, and which are rooted in meaningful and
enduring human and cultural values. This must start in our design
schools and in the ways we educate our students.
Avant-garde artists such as Marcel Duchamp and Richard Long, the
composer John Cage, and perhaps also the contemporary architect
Frank Gehry, demonstrate that true creativity can be challenging,
difficult and frequently misunderstood. It is often commercially
unsuccessful and frequently, at least initially, ridiculed and dismissed.
Duchamp submitted the piece known as 'Fountain' to an exhibition
in New York in 1917 that was jury-free and open to all works of
art. 'Fountain', a white-porcelain urinal that Duchamp had purchased
from a supplier and signed R.Mutt, was, nevertheless, rejected from
the exhibition. Despite this, it has become an icon of the 20th
century and has caused people to reassess their ideas about art
(Marcel Duchamp, Fountain 1917; also see Marcel Duchamp (Fountain)
1917/1964, 2002; Ades, Cox and Hopkins, 1999). Cage's musical composition
4'33" of 1952, "for any instrument or groups of instruments"
(Quinn, 2001) has been equally controversial and confusing and is
still a cause for comment and ridicule. This piece has three movements
and each movement is marked 'tacet', indicating that the performer
is to be silent throughout the movement. As Duchamp provokes questions
about visual art, Cage causes us to reassess our preconceptions
about music. Both demonstrated that new forms were possible that
addressed important aspects of being human and that were highly
creative, original and inspiring. Similarly, the works of sculptor
Richard Long (Cork et al, 2000) and architect Frank Gehry (Dal Co
and Forster, 1999) are challenging and, perhaps, sometimes bewildering.
But such contributions allow us to see anew; they disrupt our comfort
and test our attitudes. There is a need for such work in product
design, before the excesses of our current preoccupations bury us
alive in waste, pollution, and sheer banality.
The Need for an Avant-Garde in Product Design
Over the course of the last century, products were promoted as 'new'
and 'leading edge' based on two major features - aesthetics and
technology; and this is still the case. The first encompasses the
latest in fashions, styling and colours and is the primary focus
of the industrial designer. The second includes such things as features,
functional attributes and gadgetry and is informed more by aspects
of engineering . Neither has given us a lasting and meaningful material
culture. Instead, they have contributed to the unsustainable, destructive
characteristics of our current design and production approaches.
We need an avant-garde because time passes, the world changes, new
issues come to the fore and need to be addressed. What might have
been appropriate and acceptable then is not necessarily appropriate
and acceptable now. This is especially true if, over time, our ways
of doing things are revealed to have damaging consequences. Fashion
and much technological innovation is often superficial, trivial
and invariably wasteful. It is time to establish new criteria for
product design, new criteria for 'progress' in design and for our
notions of 'good' design. An avant-garde based in meaningful and
pressing contemporary issues could provide the impetus for new,
urgently needed thinking and directions in product design; an impetus
that would rouse the discipline from its current stasis.
In order for new ideas to be meaningful, innovative and well grounded,
designers must be educated in issues that go beyond the traditional
boundaries of design. Philosophy, historical and contemporary issues,
current affairs, and discussions that stimulate critical thinking
can all be brought to bear on how we re-configure our notions of
products, industrial design and the creation and meanings of material
culture in today's world.
An example here might serve to expose our presumptions and prejudices.
Our traditional, socially embedded understandings of business, growth
and capitalism are, in fact, relatively recent. Industrial capitalism
grew from the British cotton industry during the Industrial Revolution
and is, therefore, only a few hundred years old (Hobsbawm, 1968).
The distinguishing feature of this system, which now seems so normal
and unquestionable, is that the surpluses of production began to
be used to expand productive capacity itself. This gave us the notion
of continual industrial growth, and the corollary of continually
expanding consumption, disposable products, resource depletion,
pollution and waste. We are living with the consequences of this
today and are seemingly unable to free ourselves from its destructive
grip. Before the rise of capitalism, however, the surpluses of production
were used for other purposes. They were invested in economically
unproductive endeavours, which, viewed from our current frame of
reference, seems both incredible and ludicrous. The great European
cathedrals are one legacy of this, which, incidentally, still fulfil
an important function today (Capitalism, 2001).
This example illustrates that what, today, we might regard as preposterous
was once perfectly acceptable and natural. That is not to suggest
we should somehow try to return to a pre-capitalist, medieval time.
It does, however, allow us to see that existing norms can change,
that alternatives are possible, and urgently needed given our current
rates of ecological destruction and the gross social inequities
associated with our today's modus operandi. Critical thinking and
the challenging of precedents and standards must begin to pre-figure
the design process, and become more commonplace and more substantive
than is generally the case today. Designers will still have the
important task of translating these ideas into form, but ultimately,
it is the strength of the ideas that is important for the evolution
of a lasting, meaningful and more benign material culture.
References and Notes
Ades, D., N. Cox and D. Hopkins, (1999) Marcel
Duchamp, Thames and Hudson, London, Chapter 7
Bayley, S., (1980) Little Boxes, Horizon
TV Series, British Broadcasting Association
Capitalism, (2001) Encyclopaedia Britannica,
CD ROM, copyright 1994-2001
Cork, R., R. Long, H. Fulton, A. Seymour (2000) Richard
Long Walking In Circles, George Braziller Inc., New York
Dal Co, F., Forster K., (1999) Frank O. Gehry:
The Complete Works, Monacelli Press, New York
Dormer, P., (1993) Design Since 1945,
Thames and Hudson, London, 138
Droog Design website: http://www.droogdesign.nl
Hobsbawm, E. J. (1968), Industry and Empire,
The Penguin Economic History of Britain, Volume 3, Penguin
Books, London (1990), Chapter 3, The Indsutrial Revolution 1780-1840,
56-78
Marcel Duchamp (Fountain) 1917/1964 (2000)
San Francisco Museum of Modern Art, Collections: Recent Acquisitions
at: www.sfmoma.org/collections/recent_acquisitions/ma_coll_duchamp.html
accessed 12/02/2002 6:42pm
Marcel Duchamp, Fountain 1917 at: wysiwyg://21/http://www.artlex.com/ArtLex/d/dada.html
accessed 12/02/2002 6:51pm
Overy, P. (1991) De Stijl, Thames
and Hudson, London
Quinn, P., (2001) liner notes for John Cage
(1912 - 1992) Music for Prepared Piano Vol.2, played by
Boris Berman, piano, Naxos Compact Disc 8.559070
Ramakers, R. and G. Bakker, (1999) Droog Design:
Spirit of the Nineties, 010 Publishers, Rotterdam
Ramakers, R. (2002) Less + More: Droog Design
in Context, 010 Publishers, Rotterdam.
Whitford, F. (1984) Bauhaus, Thames
and Hudson, London
Acknowledgments
I would like to thank Jack Ingram for inviting me to write this
paper for the British scholarly publication "The Design
Journal", and for his insightful and constructive
suggestions.
I am also grateful to Suzie Duke at "The
Design Journal" for granting permission for the paper
to be reproduced here. This paper was first published in The Design
Journal, Volume 5, Issue 2, ISSN 1460-6925, Ashgate Publishing,
Aldershot, UK, www.ashgate.com.
Contact
Stuart Walker PhD, I/IDSA
Professor of Industrial Design and Associate Dean Academic
Faculty of Environmental Design
The University of Calgary, Alberta, Canada, T2N 1N4
t: 403 220 7588, f: 403 284 4399, e: walkers@ucalgary.ca
Stuart Walker is Associate Dean (Academic) and Professor of Industrial
Design at the Faculty of Environmental Design, University of Calgary,
Alberta, Canada, and Visiting Professor of Sustainable Product Design
at Kingston University, UK. He holds a PhD (Leeds) in engineering,
and the MDes(RCA) and Diploma of Imperial College in Industrial
Design Engineering. His writings on sustainability and product design
have been presented and published internationally, and his experimental
design work has been exhibited in Toronto, Calgary and at the Design
Museum, London.
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