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03 MARCH 2014

Motion + Design Centre: an animated history of motion graphics

"Motion Plus Design est un projet qui a pour but de créer un centre d'exposition dédié au Motion Design à Paris. Ce projet vise dans un premier temps à définir le motion design au grand public, le but final étant de réussir à créer un centre physique dédié au motion design à Paris."

(Mattias Peresini, 18 Juin 2012, Mattrunks)



Simon Perkins
09 NOVEMBER 2013

Superstudio: the radical Italian architectural group

"The collective emerged in 1966 at the moment when the technocratic optimism of the first half of the 1960s was souring. The watershed was the beginning of the Cultural Revolution in China in 1966 when Mao Tse–tung gave Western intellectuals a new cause to believe in after a decade of disillusion since their faith in communism was shattered by Khrushchev's exposure of Stalin's brutalities. Events in China made Western society seem spiritually barren at a time of growing concern about the Vietnam War. In the visual arts, radicals rebelled against the extrovert imagery of Pop Art in favour of the politically engaged work of Fluxus artists like Joseph Beuys and Nam June Paik. The rising tide of political frustration culminated in the 1968 student riots in Paris and copycat protests in London, Tokyo and Prague. Women formed fledgeling feminist movements such as the Women's Liberation Front in the US and Mouvement de Libération des Femmes in France. Decades of oppression against gay men and women erupted in a pitched battle in New York, when the police tried to close the Stonewall, a gay bar in the West Village and a politicised gay rights movement exploded.

Superstudio's response was to develop its 'Anti–Design' projects: themes from which were echoed in the work of other radical architects and designers, notably the members of Archizoom, a fellow Florentine group consisting of Andrea Branzi, Gilberto Corretti, Paolo Deganello, Dario and Lucia Bartolini and Massimo Morozzi. Both groups were founded in 1966 and their first important project was to express their theories about the crisis of modernism in the Superarchitecture exhibition in Pistoia, Italy. A year later, they refined the ideas aired in Superarchitecture in a joint follow–up show in Modena."

(Design Museum)



1966 • Adolfo Natalini • Alessandro Magris • Andrea Branzi • Anti-Design (agenda) • Archigram • architectural thinking • Archizoom • avant-garde • avant-garde thinking • Cristiano Toraldo di Francia • Cultural Revolution • Dario Bartolini • design museum • disillusionment • FlorenceFluxus group • Foreign Office Architects • Gilberto Corretti • ItalyJoseph Beuys • Lucia Bartolini • Mao Tse-tung • Massimo Morozzi • Modena • modernismmodernist ideals • Mouvement de Liberation des Femmes • Nam June PaikNikita Khrushchev • Paolo Deganello • Peoples Republic of Chinaphotocollage • Piero Frassinelli • Pistoia • political frustration • pop artPragueradical architecture • radical design • Rem Koolhaas • Roberto Magris • scientific method • Studio Alchymia • Superarchitecture (exhibition) • superfluous objects • Superstudio • technocratic optimism • Toraldo di Francia • University of Florence • Vietnam war • visionary scenarios • visual arts • vociferous • Womens Liberation Front


Simon Perkins
29 DECEMBER 2009

Dieter Rams' 10 principles for good industrial design

"As head of design at Braun, the German consumer electronics manufacturer, DIETER RAMS (1932–) emerged as one of the most influential industrial designers of the late 20th century by defining an elegant, legible, yet rigorous visual language for its products.

Good design is innovative.
Good design makes a product useful.
Good design is aesthetic.
Good design makes a product understandable.
Good design is unobtrusive.
Good design is honest.
Good design is long–lasting.
Good design is thorough down to the last detail.
Good design is environmentally friendly.
Good design is as little design as possible.

Copyright Dieter Rams, amended March 2003 and October 2009

These ten principles defined Dieter Rams' approach to 'good design'. Each of the hundreds of products he developed during forty years with Braun, was unerringly elegant and supremely versatile. Units were made in modular sizes to be stacked vertically or horizontally. Buttons, switches and dials were reduced to a minimum and arranged in an orderly manner. Rams even devised a system of colour coding for Braun's products, which were made in white and grey. The only splash of colour was the switches and dials.

Rams' objective was to design useful products which would be easy to operate. Yet he achieved much more by dint of the formal elegance and technical virtuosity of his work. Rams' designs always looked effortless with an exquisite simplicity borne from rigorous tests and experiments with new materials and an obsessive attention to detail to ensure that each piece appeared flawlessly coherent. Dieter Rams remains an enduring inspiration for younger designers, notably Jonathan Ive and Jasper Morrison, who have acknowledged his influence in their work at Apple and Rowenta respectively."

(Design Museum, UK)



Simon Perkins

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