石家庄27军军长,张茆淘宝,文学屋
情感设计是新的吗?情感设计通常被视为工业设计师一个新兴的的议程。通过三个设计师的作品和他们生活的背景及生存的时代来讨论这个话题。第一个设计师应该生活在19世纪末或20世纪初,第二个应该生活在20世纪中期,第三个应该生活在20世纪末或21世纪初。 前言
通常，使用产品的时候注重情感体验比单纯地注重他的实用性、可用性和生产制造的宗旨更重要。阿尔贝托·艾烈希曾经说过，越来越多的人购买物品的时候更加注意对象的知识水准和精神食粮。人们不会仅仅因为需要煮咖啡,烧开水或挤柠檬就买我的咖啡机,水壶,和柠檬榨汁机，而更多地是因为其他的原因，如情感体验。
Is design for emotion new? Design for emotion is commonly presented as an emerging agenda for industrial designers. Discuss this proposition through the work of three designers and in the contexts of their lives and the times in which they lived. One designer should have lived in the 19th or early 20th century, one in the mid-20th century and one in the late 20th or early 21st century. Introduction:
Often emotions experienced whilst using a product can be more important and relevant than the task the product is intended to carry out or the usability of it. Alberto Alessi states “More and more people buy objects for intellectual and spiritual nourishment. People do not buy my coffee makers, kettles, and lemon squeezers because they need to make coffee, to boil water or to squeeze lemons, but for other reasons. Samantha Porter.
Designing for emotion. Slide number 7. Available: http://learn.lboro.ac.uk/file.php/1455/RealPeoplePg.pdf . Last accessed 15/01/10. It is believed that design for emotion plays an increasingly important role in product selection. Design for emotion involves considering the feelings someone would experience whilst using a product, and how it has impact upon their lives. Lionel Tigers (a Canadian Anthropologist) has defined this notion by splitting it into four categories:
Physio – pleasure is used to describe the pleasure a user achieves from the effect a product has on sensory organs relating to touch, smell and sound. An important factor of this is how the product is held and touched during its use. A good example is a car – if it has a quiet engine that you can’t hear it will be more pleasurable to use than a car that has a loud spluttering engine. Also, the smell inside a new car is likely to affect the experience the user has whilst using it
Socio – pleasure is enjoyment related to relationships with others. An object may provide a way for the user to interact with people. Often products affect and display social status, often by various brand names. Some designs, if they are unique or unusual, may provide a starting point for conversation, encouraging interaction and therefore providing socio-pleasure. A good example of this is the Arco floor lamp, it’s a unique design that people are likely to comment on.
Ideo – pleasure describes pleasure obtained as a result of people’s individual values and the way a product considers these, it entirely depends on personal opinion. If someone is concerned about the environment, and a product is recyclable then they are likely to enjoy using it more because it follows their values
Psycho – pleasure Considers the usability of a product and what the experience of using it is like. For example if a product is time consuming, difficult and confusing to use and is it won’t be very pleasurable to use it. For example a product that doesn’t have psycho pleasure is Starke’s fruit juicer. It’s very visually pleasing, but isn’t easy to use. 19th – 20th century - Marrianne Brandt
Between 1919 and 1933 Bauhaus was becoming the centre point of design in Germany. The school of Bauhaus created many ideas and principles that are still used to influence design now. The leader of the Bauhaus school (Walter Gropius) wanted to combine art and creation by teaching art, hand work, industry and design together so that the school provided education in several forms; it was the start of modernism. Modernism was the start of moving on from historical styles, unnecessary detail and decoration, the style focused on function before form. Initially, the Bauhaus was inspired by expressionism, and then by De Stijl, an artist from the Netherlands which is apparent in Brandt’s work.
Marianne Brandt was a German designer who lived from 1893-1983. She initially studied fine arts, before enrolling at the Bauhaus school. After doing a foundation course, in 1934 she moved on to study in the metal workshop; subsequently she worked there and was the first woman to do so. Brandt is relatively well known for being one of few women associated with the Bauhaus movement.
The Bauhaus design style can be summarised as being sleek, minimal and geometric. Emphasis is laid on how well something functions rather than its aesthetics. At the time, steel tubing and other non-traditional materials were beginning to be used in design, possibly as a result of people being taught at the school of Bauhaus to use alternative materials. Brandt’s most well known designs are the teapot and ash tray. Her products were heavily influenced by the design style of her metal teacher who liked constructivism, which can be described as; “A movement in modern art originating in Moscow in 1920 and characterized by the use of industrial materials such as glass, sheet metal, and plastic to create nonrepresentational, often geometric objects.” The American Heritage Dictionary of the English Language, 4th edition, published by Houghton Mifflin Company. http://www.answers.com/topic/constructivism. Figures 1, 2 & 3 - De Stijl’s art, Brandt's Work
The tea pot demonstrates how function played an important role with respect to consumer products around this time – it has a built in strainer, non drip spout and heat proof handle made out of ebony. It has been designed for ease of use and comfort rather than aesthetics. This targets psycho pleasure, the product has been made pleasurable to use and interact with; it’s usable as ebony has been used to ensure that the user doesn’t burn themselves whilst using it. Both of the designs have socio-pleasure. They incorporate relatively new design styles and materials that could be a talking point. Therefore designing for emotion was on the agenda when Brandt designed these products. Mid 20th Century – Carlo Mollino
Prior to the war Italy hadn’t really played a big part in the world of design. However, things began to change once the war ended and Italy became better known for design. The North of Italy was industrially rich; here they experienced an increase in economy in two main areas – design and export. One of the first industries to grow was steel, resulting in an increase in products made of it such as furniture and cars.
Carlo Mollino was an Italian designer who was born in 1905 and lived in Torino which was part of the industrially rich North. Mollino was predominantly an architect, but worked in a variety of fields, covering a diverse range of things including design, photography and writing. He has been described by the following description; “Designer, architect, genius obsessed with drugs, sex and extreme decoration. Crazy, artistic, stingy, obsessed with taxes. Sex maniac, master architect, drug addict, genius.” Paolo Frello. (1996). Carlo Mollino article. Available: http://www.dolcevita.com/design/mollino/mollino.html. Available at http://www.dolcevita.com/index.htmHYPERLINK "http://www.dolcevita.com/"l. Last accessed 30/01/10.
A lot of furniture in Italy at this time was inspired by abstract and dynamic contemporary art; Mollino’s work is a good example of this. The unique form of his work made him become known for using organic style because he used naturally occurring forms such as tree branches, the human form and animal bodies to inspire his work. Mollino was greatly intrigued by the Egyptians tombs and the occult (hidden knowledge of the paranormal) and these inspired his work, particularly his architecture. Mollino’s work can be said to display the characteristics of Bel Design which are elegancy, experimentation and innovative thinking, the style also used a lot of plastic. An example of design being inspired by natural forms is the furniture shown below (figures 5 and 6). Figure 5 is said to reflect parts of the female body, the back representing a woman’s torso. Figure 6 is the Ardea chair, inspired by the form of the Ardea bird. The furniture design tended to focus on form rather than function, which is the opposite of Brandt’s work. Mollino also designed a race car to use himself called Bisiluro (Figure 4), to race in ‘Le Man’s’ 24 hour race in France. He heavily looked into the specific detail of the design, and strived to make something that provided great satisfaction to the user. He wanted it to drive well and run effortlessly, and wanted it to win him the race. |
