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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)

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CONTRIBUTOR

Simon Perkins
29 DECEMBER 2009

Combination fleece, hospital gown and Jedi robe!

"It lacks the rock chick cool of a Balmain blazer and the sexiness of Charlotte Olympia heels, but this $14.99 blanket with armholes could be the surprise fashion hit of the recession. The Snuggie looks like a combination of a fleece hospital gown (it's backless!) and Jedi robe, but since its debut in October more than 4m have been sold.

Sales surged after the first airings of a two–minute infomercial featuring a woman driven to despair by the difficulties of wearing a blanket. She couldn't answer the phone, play backgammon or eat popcorn without exposing her arms to cold air."

(Emily Rotberg, The Guardian, 16 February 2009)

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TAGS

2008blanketclothingcouch dress • couch potato • Cuddlee • Cuddlewrap • designenterprisefashion • fleece • form • hospital gown • innovation • Jedi • robe • Slanket • Snug Sack • Snuggie • television • Toasty Wrap

CONTRIBUTOR

Simon Perkins
11 DECEMBER 2009

Façade Projection: 555 KUBIK

"The conception of this project consistently derives from its underlying architecture – the theoretic conception and visual pattern of the Hamburg Kunsthalle. The Basic idea of narration was to dissolve and break through the strict architecture of O. M. Ungers 'Galerie der Gegenwart'.

Resultant permeabilty of the solid facade uncovers different interpretations of conception, geometry and aesthetics expressed through graphics and movement. A situation of reflexivity evolves – describing the constitution and spacious perception of this location by means of the building itself."

(Daniel Rossa)

Production: urbanscreen.com; Art Direction: Daniel Rossa – rossarossa.de; Technical Director: Thorsten Bauer; 3D Operator: David Starmann shineundsein.de; Sound Design : Jonas Wiese; Realized with mxwendler.net mediaserver

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TAGS

555 KUBIK • animationarchitecturebuildingcity • Daniel Rossa • digitaldigital cultureenvironmenteventfacadefacade projectionformgeometryGermanyHamburg • Hamburg Kunsthalle • illusioninformation in contextinnovationlocationmedia artmotionmovementperception • permeability • projectionprojection artprojection mappingprojection workssitesite-specificspacestructuretechnology • UrbanScreen • visual communicationvisual spectaclevisualisation

CONTRIBUTOR

Simon Perkins
04 DECEMBER 2009

Gaming DNA – On Narrative and Gameplay Gestalts

"This paper takes the concept of the 'Gameplay Gestalt' as advanced by Craig Lindley[7] as a basis for a fresh look at how games are read and designed. Disagreeing with Lindley's assertion of gameplay over narrative, it puts forward a model of the game as a construct of authored gestalt interplay, and concentrates on the links between the physical process of playing the game and the interpretative process of 'reading' it. A wide variety of games are put forward as examples, and some analyses of major 'moments' in classic games are deconstructed. The concept of the 'sublime' as applicable to games is examined as is the use of gameplay and narrative to generate 'illusory agency', which can make a game more than the sum of its parts."

(Brown Douglas, DiGRA Digital Library)

Lindley, Craig, Narrative, Game Play, and Alternative Time Structures for Virtual Environments, Springer, 2004

TAGS

communicationdesign theorydigital cultureDiGRAexperience of the sublimeform • game construction • game readings • gameplay • gameplay gestalt • gamesgestaltinteractionlanguageliteracynarrativestructurevisual communication

CONTRIBUTOR

Simon Perkins
30 NOVEMBER 2009

Four Interrupted Carparks Video/Digital insertions, Madrid, 2009

"Four carparks in Madrid are interrupted with a geometric primitive. Modeling, compositing, rendering and editing performed with Blender for Linux."

(Julian Oliver)

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TAGS

20093Dartworkaugmented space • Blender • carparkcompositingconstructiondigitalenvironmentform • Four Carparks • geometric primitivegeometryillusionillusionistic space • insertion • interruption • Julian Oliver • Madridmedia artmodellingnew mediaNew Zealand artistop artoptical artperceptionperspectiveplaceremediationrenderingsculpturespacespectaclevideovisual communicationvisual literacyvisualisation

CONTRIBUTOR

Simon Perkins
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