Exploring Danish Design

Lecture 8 : Architecture and Design

2010-04-27T14:11:00.001+02:00

March 16th, 2009

As I listened to the lecture on architecture and design I couldn’t help but understand how common the language is among Danes. With almost every example I was able to draw connections back to my host family and their house. With such a broad range of topics it’s hard to focus in and dissect just one, thus I’ve decided to go through point by point highlighting just how Danish my host family really is.

1. Bricks: We live in a small, two-story brick house.

2. Lights: In addition to a wall of windows in our living room,

the house is also complete with a few Velux skylights.

3. Heating: The living room is complete with a fireplace

and the bathroom floors are heated.

4. Fixtures: Our new kitchen has the Vola faucet

and various doors use Jacobsen’s handles.

[http://www.lipsticktracez.com/reggie/2010/02/vola-color-faucets.php]

5. Lamps: We have two PH lamps. One over the kitchen table and

one at the computer desk. My room is complete with Panton’s most famous lamp.

In addition to all of these typical Danish design elements we live north of the city one of the 5 fingers of the Copenhagen master plan. Being here in Denmark and interacting with these typical Danish elements on a daily basis has helped me realize how functional Danish design is. It inspires me to strongly consider the design choices I make in the future and return to the States with a strong critical eye.

Lecture 10 : Transportation Design & Architecture

2010-04-27T12:12:00.002+02:00

April 16th, 2010

Cities have always been looking to increase the flow of traffic and people better. The ever-changing landscape of an urban area presents many challenges for designers as the city landscape can change rather quickly, while it may take longer for the transit infrastructure to catch up. Thus, as learned during the guest lecture, it is important more so than ever to ensure positive and long lasting effects from today’s transportation design and architecture.

The new 'bike friendly' Norreport Station

[http://www.inhabitat.com/2009/11/04/cobe-wins-first-prize-for-bike-friendly-norreport-station-in-copenhagen/]

Coming from a city with little to no public transit, I’m overall impressed by Copenhagen’s system, but it certainly has its faults. Each morning I arrive to a crowded platform at Norreport Station filled with strollers, suitcases and the occasional smoker. With 7 train lines running into the old station the morning commute can be quite hectic. The new station design looks to alleviate some of these problems while better integrating it into the city street (abolishing the current island form). I believe the new improvements will help the station to function much more efficiently, much like Denmark’s top rated metro system.

Copenhagen's Metro

[http://commons.wikimedia.org/wiki/File:Nørreport_Station_07.JPG]

Throughout my time in Europe this semester I have experienced several different transportation networks and stations, including: Stockholm, Rome, Frankfurt and Berlin. Copenhagen’s S-Tog falls somewhere in the middle of these systems. Although the trains are large and comfortable, the platforms and stations are more camped than say Rome’s metro. My favorite stations were in Berlin and Frankfurt. Both very different each had important unique features that made them successful. Frankfurt’s Main Station is structured much like Europe’s great historic train hubs. All the lines leave and enter the building from a single point. Berlin on the other hand was split into multiple levels and served many different train lines (S-Bahn, U-Bahn, ICE, etc) in a very modern environment.

Frankfurt's Hauptbanhof

[http://placesonline.blogspot.com/2010_03_01_archive.html]

Berlin's Hauptbanhof

[http://czech-transport.com/index.php?id=591]

Train stations are important focal points of your city. They form the first and last impression for visitors, and help to facilitate the flow of people about the city. I believe Copenhagen is on the right with their new Metro stations and hopefully the new Norreport design turns out to be just as beautiful and functional.

Lecture 11 : Graphic Design

2010-04-27T11:18:00.002+02:00

April 27th, 2010

I’ve always been intrigued by the world of graphic design. As a communications major and design minor at university, I often find myself analyzing the visual message we can share with our words. Films like Helvetica continue this dialogue and continue to invite the non-designers into a world where graphics and visuals become important. More so than ever, we see a demand for high quality work not only in an academic sense but in a solid visual presentation as well.

[http://therushmorefilmsociety.wordpress.com/2010/01/]

I found today’s lecture somewhat surprising considering the Danes do not have a strong foothold in graphic design, especially with graphic design officially coming into recognition in the 1950’s alongside the furniture revolution. This being said I’m still intrigued by the country’s commitment to open any and all design competitions to the public. Stamps and money are the most obvious two that come to mind, but at the same time these large public commissions are often dominated by the starts of the design world.

The IRMA example of allowing people to design bags for the grocery bags really stood out to me. Personalization of products is becoming more and more important today and this practice allows for more and more design perspectives to be shared with the world. The IRMA bags reminded me of a project that was started a few years ago in the United States known as Post Secret. A man in Maryland simply asked people to mail him postcards revealing their secrets. The practice of disclosing something near and dear to you has since turned into a phenomenal art project, which helps to relieve people of their strongest fears/emotions. Cards are often cleverly designed and have become quite beautiful/ Today, Post Secret has published several books and also tours the country with an exhibit of cards, in addition to weekly posts on their website.
[http://www.brandsoftheworld.com/categories/food/226684.html]

Will we continue to see a greater push for customizable graphic art in the future? I sure hope so. A lot can be learned from the perspectives of others. Additionally, competitions like IRMA and projects like Post Secret will help to broaden the graphics community. Hopefully companies will take after their examples to truly enhance the global impact graphic design can have.

[http://omabercerita.blogspot.com/2009/06/post-your-secret.html]

Furniture Design

2010-04-27T01:06:00.001+02:00

February 16th, 2010

While there are many differences between the United States and Denmark, I believe one of the biggest differences is how people decorate their homes. In America we tend to decorate our houses based on the region we live in. The East coast may have more of a historic feel to the décor of their interior spaces. Florida residents usually stick to a tropical motif and Southern Californians may decorate with a Latino infused modern style. But houses are no means confined to a particular style based on their geographical location. Often times you find places that have themed rooms. Perhaps the kitchen features a collection of chicken objects, or the bathroom feels like an ocean snorkeling adventure. These trends seem highly unlikely in the Danish and Scandinavian home of today.

A painfully tacky American bathroom

[http://sherryspage.com/]

The role furniture plays in the life of Danes is huge. Most Danes would be able to recognize a chair or lamp and name the designer. In the United States people don’t know if you bought your lamp from Target or a high-end lighting store. Our furnishings and architecture isn’t always very honest. After spending time getting to know the different Danish designers and their products I aspire to afford them for my house in the future. But even should I spend several thousand dollars for a lamp or chair, most American’s wouldn’t even realize where it came from or why it’s considered good design.

[http://www.arquitectura.com/arquitectura/monografias/notas/casa_tugendhat/index_en.asp]

These thoughts led me to consider whom we decorate our homes for? Obviously we must be happy within our dwellings, but are we trying to impress others with our furnishings. In the States I think it’s important to have a lavish space and looks and feels cohesive. In Denmark, Danes strive to showcase important pieces of their country’s famous designers. However, because such time and consideration was put into these pieces they function more efficiently and therefore hold a greater importance to the culture. Take for example the PH lamp. Not only does it shield your eyes from direct light, it’s hung lower to tables to help facilitate a stronger connection between the seated persons. These strong intentions proclaimed through honest design is what I hope to emulate back in the states and hopefully inspire others to embrace.

Applied Art Between Nostalgia and Innovation

2010-04-26T23:08:00.003+02:00

by Krisitan Berg Nielsen

February 19th, 2010

Upon my arrival in Copenhagen I knew very little about Danish Design. From what I had heard and read, Denmark’s capital was at the forefront of Scandinavian design and well respected around the work, but I was yet to learn why. Images of Kay Bojesen’s Monkey floated through my mind and I was excited to bring home such treasures for friends and family. Little did I know such a children’s toy would set me back over $150.

[http://www.illumsbolighus.dk/uk/product_detail.asp?mode=master&maID=27145]

Nielsen’s article focuses on the boundary between fine arts and applied arts. In many settings we idolize fine arts more so than applied arts. Perhaps we take for granted the work of the designer because in hindsight we find the function of design objects as obvious. However, after spending time in Denmark and visiting various museums and design shops, it’s clear this country has developed an appreciation for applied arts that puts them on the same pedestal as applied arts.

TOMS Shoes is a company that combines fine arts (print) with applied arts (fashionable shoe) to make a difference in the world by donating a pair of their footwear every time a pair is purchased. This 1:1 model is successful thanks to the help of beautiful and functional pieces.

[www.toms.com]

Using the Bauhaus as an example, Nielsen draws an interesting connection for me back to today’s Danish icons. During the glory years of the Bauhaus, the applied arts were not recognized as being equal to the fine arts. And in many cases today this is true. I believe designers have certainly found a niche in Denmark to promote them as equals. I personally hadn’t really considered the subject until this semester, but it makes sense that the two be viewed as equally skilled trades. As one who appreciates art and design of all sorts I find it silly to chose one over the other and the selection process somewhat demeaning to the community as a whole. In a world where problems are abound and funding for the arts is being cut, dividing artists and designers in two is a careless mistake. By fusing the practices and viewing them in the same light, as the Danes do, I think we can make a giant leap forward towards attacking global issues indirectly calling for the help of the arts/design community.

The power design can ultimately have on the world.

[http://www.jillm.com/beyond/2007/08/]

Reading Review: Danish Fashion

2010-04-26T22:31:00.001+02:00

by Marie Reigels Melchoir

March 9th, 2010

Denmark’s designers are best known for their chairs. However, this article focused on how fashion is becoming a rising player in the country’s design arena. Although I have to say it seems as though there hasn’t been much development in the furniture area since the ‘golden age,’ I have trouble considering Copenhagen as a fashion design capital of the world. The article doesn’t try to articulate the city as a shining star yet, but from an outsiders perspective, I don’t believe the profession is quite as revolutionary as it was talked up to be.

Copenhagen's fashion week.

[http://girldir.com/news-events/]

Since living abroad people have asked me how people in Denmark differ from those in the United States. When speaking about a particular look or visual identity I have trouble expressing to people the uniqueness of their style. Do the men dress better? Certainly. In the States it’s nearly impossible to find a male over the age of 30 with product in his hair. However, there isn’t per say a distinct style or fashionable mark that stands out to me.

There are definitely products that are more common for Danes to wear or carry. For example, I found fur coats are much more popular here than in the United States. Additionally, Fjällräven packpacks are also a staple in the young Dane’s look. However, neither fur coats or these Swedish backpacks are uniquely Danish. In some senses I believe it is hard to separate Denmark’s style from the rest of Scandinavia. Having traveled to all four countries, there was no remarkable difference in the appearance of everyday people in any particular place.

[http://www.sayyestohoboken.com/2009/12/fjallraven-backpacks.html]

With this in mind, why is it important for Danish fashion to stand alone? Is there any reason it can’t be considered part of a Scandinavian look? The article makes it clear that the industry has come a long way and there certainly are elements that could be considered uniquely Danish, but I don’t see the need to force something that isn’t there.

Swedish fashion giant, H&M.

[http://commons.wikimedia.org/wiki/File:H_und_M_Logo_in_Hamburg.jpg]

Lecture 7 : Interior Design

2010-04-26T21:54:00.001+02:00

I was a bit surprised the first time I stepped into my host family's house. One couch? A family of 4 (now 5) and only one couch? And where was the recliner? My initial reaction to the minimalist style that defines the Danes interior spaces was a bit surprised. Back home we have three different rooms for leisure seating each which two couches and at least one chair. But as I quickly came to realize, my host families set up wasn't all that different from their fellow Danes.

When describing how Danes live to people back home I being by explaining the fundamental white walls and unfinished hardwood floors. Next, I mention that rooms feel like museums with carefully selected Scandinavian furnishings often recognizable by majority of the population. PK lamps and skylights brighten the space while Tivoli radios and B&O televisions bring the room to life. The focus on interior is quite different from the United States. We spend our money on designer hand bags and flashy cars to display our wealth and sense of self worth. I find it no surprise that the Danes, living in a social welfare society, are more focused on what lies within -- their dwellings a fine example of this.

Although I've become quite fascinated with the Danish approach to interior furnishing, I've often questioned the homogeneity of the art. Stores like Illums proudly display the chairs that helped put Denmark on the design map, but has Denmark's obsession with 'golden age' furniture crippled their ability to continuously press the envelope and design for the future? I'm certainly not criticizing the work of Jacobsen, Juhl and Panton, but simply questioning if their impact has been too strong on today's Danish homemaker.

There is no doubt my future living spaces will be inspired by Denmark's attention to quality and simplicity. A visit with my host family to a former neighbor's new Copenhagen apartment had me in shock by the sheer size of the space. The apartment for two is smaller than my studio for the next school year. Understanding Danish interiors goes beyond furniture with their size and organization speaking just as loudly. These elements cannot be forgotten when studying the typical dwelling in Denmark. Additionally, the inclusion of exterior space is almost equally important. Not only do expansive glass walls facilitate a discussion with nature, but they further enhance the quality of light in a space. Together these elements create an honest Danish living space.

Symposium 8 : Public Space, Public Life

2010-04-26T01:10:00.001+02:00

The city of Copenhagen recently installed several new statues on Gammeltorv. What is it all about? How do people react and interact with them? If the statues were real human beings, would they react differently to it? Is Gammeltorv a good place for such an installation? Is there any other public space in Copenhagen that would be more suitable than Gammeltorv, and for what reason? Record your observations.

The recent installation on Gammeltorv, titled Welcome HomeLess, depicts 13 various homeless people in life-like positions. Scattered among a fairly popular square in the middle of town, the project is a can't miss for people passing by. Various people about the square appeared quizzical upon noticing the very human looking statues and often took a slow and cautious approach to examen if they were in fact real. This believable quality strengthens the work's impact. Additionally, casting the characters in iron versus using live performers enhances the users interaction. People would be afraid to approach a performer, much like we swiftly walk past the homeless. These statues grant us the opportunity to completely soak in the emotion from their face and body.

Having never seen a group of art like this, I wonder if the city plans to move the status to various squares and streets around Copenhagen. Gammeltorv is a strong central location with access to the popular walking street Stroget and is bounded by the court house on one end, but the piece could also make an interesting impact in other parts of town. It would be interesting to see the collection outside of Parliament or the City Hall to make an even stronger political statement. Personally, I think Welcome HomeLess is a brilliant work. Historic cities are filled with so many statues of important people from the past that we often don't stop to admire. These statues stand out in a sea of others and force one to think. Think about wealth and poverty, sickness and health, and put into perspective what's truly important in our lives.

[http://www.welcomehomeless.org/about.aspx]

Form and Distinction

2010-04-22T21:48:00.002+02:00

by Ole Thyssen

Thyssen leaves little to the imagination in his essay. He tells you as he sees it and doesn’t leave one much room to disagree. I do agree with a lot of what he says; however I do not view the systems and framework designers work in as a bad thing. There is a strong undertone to his writing that almost bashes a designer’s guidance by past experiences and internal dialogue. I believe the process of pushing ideas through our systems to fit the framework of a situation is what makes our work stronger. Every idea we have, every problem we solve is shaped by direct and indirect experiences from our past. Aesthetic or functional, these guiding lights help to keep designers relevant and their work practical.

At this point we’ve reached a junction dividing the designer as an artist for themselves or for clients. Thyssen asserts this meeting place is not always compatible. I agree, but I think there can be solutions, each tailored to the unique situation. For example, last fall I took a Native American Literature course. Our instructor told a story about her friend, a Native painter. This painter took requests from clients as to what they were looking for in a commissioned piece; but before appeasing their wishes she first painted a picture for herself. It was over this initial picture that she would cover the canvas in a scene that fit the client’s likings. Here the two sides met in a manner that catered both sides.

[http://endicottstudio.typepad.com/endicott_redux/2007/04/index.html]

Design may be a process of reworking old ideas -- that’s okay -- some ideas are too good to let go of. The golden rectangle anyone? Discovered by the Greeks, the perfect harmony created by the contrasting long and short sides is still perceived as accurate today. Artists and designers that use these dimensions in their products are simply doing what works best. Thus systems help us, they make things work better and should be celebrated, rather than frowned upon.

[http://commons.wikimedia.org/wiki/File:Golden_Rectangle_landscape.svg]

The Duplika Exhibition

2010-04-22T18:49:00.003+02:00

by Kristian Berg Nielsen

The argument between arts/crafts and mass production is one that will never end. Ruskin and Morris have a strong case for themselves and Marinetti has a valid point as well. Obviously the arts/crafts community had much strong foot holdings in the past when mass production seemed something of a far out reality. But as the times changed and production methods shifted to a more streamlined and money efficient technique, the artists and craftsmen became a dying breed.

Don’t get me wrong; it’s sad to see them go, but have we really lost the arts and crafts type? Or have we simply reinvented artists and craftsmen? I find it interesting that the “Danish golden age” of furniture and even industrial design occurred after the industrial revolution, the biggest culprit in the push for mass-produced goods. The chairs of Jacobsen and Juhl certainly were not woodshed carved furnishings, however the first iterations should be considered of the arts/crafts genre.

[http://perpenduum.com/2008/05/finn-juhl/]

Therefore I’d like to think that today, that many of our arts and crafts, our hands made items, end up becoming mass-produced. This means the quality and integrity still lies behind the item, the only difference is the wood was cut by machine not saw. Many of our mass produced designs are still very sensible. For example the Royal Copenhagen Collection. This blends the boundary between mass production and hand made. Additionally, the Pinocchio Rug sold at Illums incorporates hand created elements in a mass produced item.

[http://www.illumsbolighus.dk/uk/product_detail.asp?mode=master&maID=28630]

So put the fight between Ruskin/Morris and Marinetti to rest. Times change. Things evolve. We must not draw such black and white conclusions between mass-produced and arts/crafts, because by doing so we miss the subtle details.

Lecture 3 : Product Design

2010-04-22T15:46:00.003+02:00

February 9th, 2010

What in Danish Design is Borrowed and Where Then do We Find Ourselves in the Multitude of Creations?

In today’s globalized society nearly everything is a borrowed or upcycled idea. Danish Design is certainly no exception to this environment, but the best of designers are still able to project their personal expressions and intertwine their prospective with the muse that inspired them.

Take for example the Royal Copenhagen Collection. Inspired by porcelain exports from China, specifically blue and white glazes, the Danes found their own way of mimicking the beautiful white color of the eastern imports. Eventually this technique and color scheme became the backbone of the Royal Copenhagen Collection. Today the porcelain works have become iconic throughout Denmark and the rest of Scandinavia. In my host family’s house we drink from Royal Copenhagen teacups, eat from Royal Copenhagen plates and rest our eggs in Royal Copenhagen holders. The ‘borrowed’ blue and white porcelain from China has grown into it’s own phenomenon, culture and brand in a completely different part of the world.

Marked by a logo highlighting the hand painted craft, Royal Copenhagen pieces don’t go without notice. However, the logo that was once an emblazoned certificate of authenticity has turned into a branding campaign, which in my opinion detracts from the original intent of the collection. Created by request of the queen, the Royal Copenhagen collection was tastefully decorated in 1775. As any good product does, the collection changed with the times. Today we see Louise Campbell’s colorful, more contemporary, but still tasteful interpretation of the original design. However, we’ve also witnessed the brand fall into a sort of identity crisis/overload with the addition of plates and teacups that contain the trademark logo slapped over the front of them.

Removing the trademark from the bottom and wrapping it over the collection tells me Royal Copenhagen is no longer about quality, but identity. Sure, you can have both; take Polo Ralph Lauren for example. The clothing company produces a quality garment, however the garment’s demand is created by its logo. This very American ideal of money or property talking for you is what I see has infiltrated the Royal Copenhagen collection.

So yes, ideas are borrowed. And no, that isn’t bad. Unless the borrowed ideas carry you away from your core message and begin to pry you from your history. Royal Copenhagen was founded on the attraction to tastefully decorated blue and white porcelain products from the east. Today we are beginning to see these original ideals become over westernized and lost along the way. This is an important lesson designers must learn from. Danish designers are particularly good at blazing their own trails; but as soon as you loose yourself in borrowed ideas, the quality and integrity of your product begins to take a hit. Royal Copenhagen, don’t let this happen to you!

images [http://www.royalcopenhagen.com/]

Symposium 6 : Architecture & Design as a Vehicle for Creating a Welfare State

2010-04-22T00:38:00.003+02:00

March 26th, 2010

Discuss your own personal consumption and how it is affected by your dwelling and social identity.

Back in high school we were required to take a test determining our ecological footprints. If the entire world lived like I did it would take over 6 Earths to sustain our current population (remember it’s always growing). After realizing some of the factors were out of my control (house size, vehicle MPG, etc.) I decided to complete the test as I wished to live in the future. Still bad news, we would need 3 Earths to sustain the ‘new and improved’ me.

Moving away to college has certainly helped lower my carbon/ecological footprint. I live in an apartment 1/3 the size of my house with 4 other people. I bike, walk or take the bus to school. I don’t eat as much meat, mainly because I can’t cook. And I always make sure to recycle empty beer cans and vodka bottles. But despite the best of efforts to lessen my global impact, I still live in America. Simply because of our public infrastructure, energy sources, urban sprawl, cultural norms, it is impossible to live a sustainable life – unless you moved into tree and dined on nuts and berries.

To analyze how exactly my footprint is affected by the country I live in and the lifestyle I lead, I took another ecological footprint test. The good news I have made an improvement over high school. The bad news is we would still need 5 Earths to sustain a population of Ben Tully. After analyzing the results I outperform most Americans in every category, except food – go figure. Although I may not make a pork roast or indulge in a big fat steak, eating meat (such as sandwich or salad meat) with every meal, along side a big tall glass of milk really balloons my footprint. I can blame growing up in “America’s Dairyland” (Wisconsin) for the milk issue, however I believe the meat issue stems to a cultural norm of Western culture.

For some reason, Western countries don’t think a meal is complete unless it includes meat. This mentality is silly and has caused an increase in poor quality food and harmful production practices (to humans, animals and the planet). Not to mention, portion sizes are HUGE in the United States and restaurants aren’t helping to solve the problem. The saying, you are what you eat, goes a long way in the context of our ecological footprint. If we are careless eaters we become careless environmentalists.

We can go on and on about climate change, but the truth of the matter extends much further than a documentary by the former US Vice President. By fixing habits and returning to a more natural and ‘green’ lifestyle we will not only help ourselves but the planet in return. And what more can we ask for then to be happy and healthy?

Required Independant Field Study 1 : Kunstindustrimuseet

2010-04-21T17:16:00.004+02:00

Part-1: Carefully select any singular piece of DK design (specifically from the Post-war period) as seen/experienced in Kunstindustrimuseet’s exhibits today. Select a piece that you feel strongly embodies and typifies DK design as discussed in class and elucidated in the required readings.

Part-2: Select any one of the 7 themes below, and discuss your chosen DK design piece in terms of this thematic. You are moreover encouraged to take the chosen thematic and then focus it down further into a specific question of your own formulation (i.e. a question stemming out from the thematic). This thematic/question should be discussed concretely in terms of the specific design --and its designer-- that you selected in ‘Part-1’.

I have chosen to analyze Verner Panton’s S-Chair. Although it isn’t made of fabric and wood like most Danish chairs, it possesses key elements beyond materiality, which I believe, embody and typifies Danish design.

Panton's S-Chair

[http://italianclassics.eu/product.php?productid=16157]

1) First, the chair is innovative, forward thinking and different. Danish furniture designers are known for their new ideas – Arne Jacobsen’s Egg Chair anyone? Panton’s slick, psychedelic curves added another dimension to the old trade and the mass produce-able plastic made it easier for the average Dane to obtain one of his masterpieces. Not only did he create a piece of furniture, but Panton also experimented with complete environments (another trademark of Danish designers) and found success especially with his lamps. Today, we continue to see exploration of the now “classic” S-Chair with modern colors, materials and sizes.

[http://www.stripaerobics.se/str.php?q=verner-panton-chairs]

2) Already touched upon, Panton’s S-Chair brings to the table a discussion of (#3) the roles and representations of individual craftsmanship coupled with mass production in Danish design during the post-war period. Yes the materiality of the chair allows for easy mass production (plastic), but so does its shape. The chair’s curves interlock well with one another providing one the opportunity to sack them. Additionally, the chair takes up less space. It’s tall, not wide. As for the individual craftsmanship of the chair? Well, beyond the initial design there isn’t much. Plastic is plastic, but I think Panton put enough thought in on the front end that the handcrafted label everyone looks for on furniture isn’t as important to this piece. It doesn’t hide anything. It doesn’t make you think it’s something it’s not. The S-Chair is very honest about being plastic and a product for mass production – and I’m okay with that.

[http://www.egodesign.ca/en/article.php?article_id=284&page=2]

Symposium 7 : Safety and Public Transit

2010-04-21T15:40:00.001+02:00

April 20th, 2010

Compare and contrast the Copenhagen transit system to another on you know well, from home or somewhere else in the United States. Discuss what you believe are strong elements in Copenhagen’s public transportation and the areas you think the city could improve upon. What does Copenhagen do that might be applicable to your city? Does the city you chose have any examples or ideas that Copenhagen could adopt? Which transit system do you feel safer riding and why?

I am fortunate enough to attend university in a large metropolitan city with great public transit infrastructure, Minneapolis (Minnesota). Although similarly comprehensive to Copenhagen’s, there are key differences in the mode, price and public support of the two transit systems.

To begin, Minneapolis’ relies primarily on buses to move the masses; trains dominate Copenhagen’s public transit. Minneapolis once had a streetcar system but it was bought out and removed as part of General Motor’s push to sell more buses and cars during the 1940’s and 50’s. The city has recently completed a light rail train line and commuter rail line with plans for future expansion.

A former Minneapolis streetcar

[http://commons.wikimedia.org/wiki/File:Duluth_streetcar_265.jpg]

Another primary difference between the two systems is the price to ride. In Minneapolis, $1.75 will get you a ticket to ride anywhere on the buses and trains for up to 2 and ½ hours (transfers included). I think the reason their prices can remain lower counts for the fact that the US has a larger tax base to pay for the constructions with.

Minneapolis city bus with bike rack

[http://www.metrocouncil.org/directions/transit/transit2006/CommuterChallengeApr06.htm]

Although ridership has been increasing, especially around the university and northern suburbs, expansion of the rail line is increasingly difficult, as people fear large government spending during the current recession. Here in Copenhagen it seems just the opposite, that people continuously encourage the expansion of public transit all the time.

No public transportation network is perfect. In Minneapolis, there is a strong push to further develop bike lanes. In fact, the city mandates a percentage of spending for road construction be spent to add/improve existing lanes for bicycle traffic. This is something Copenhagen has mastered with their implementation of ‘green waves’ during rush hour. The leisure biking culture also differs between the cities, as Minneapolis has many more bike paths surrounding the city, which fosters bike riders at a younger age in a traffic-less environment.

City biking improvements in Minneapolis

[http://www.minnesotapersonal-injurylawyer.com/hennepin-minneapolis-bike-box-bike-lane.html]

When it comes to busses, Minneapolis could also learn a thing or two from Copenhagen. Denmark’s capital city has bus shelters and route information at every stop. In Minneapolis, you only find this info at major intersections. All other stops are marked with a simple ‘Bus Stop’ sign, which often doesn’t include even the route number. Text updates on late/early buses would also be appreciated for those rainy spring, or harsh winter days.

Minneapolis bus stop

[http://blog.lib.umn.edu/levin031/transportationist/2006/11/on_a_streetcar_named_developme.html]

Copenhagen bus stop

[http://commons.wikimedia.org/wiki/File:Bus_stop_Copenhagen.JPG]

As much as I can complain about changes I’d like to see in Minneapolis, the quality of public transit in the city far outdoes my hometown of Milwaukee. Although pushing for a light rail system, trains running throughout downtown within the next decade don’t seem likely. Milwaukee’s buses also have their own set of stereotypes, often dominated by poorer people, driving away the common traveler. Given what I’ve seen in Minneapolis and Copenhagen I hope more cities continue to push themselves to develop better, faster and smarter public transit systems.

Required Independent Field Study 1 : It's A Small World / DDC

2010-04-18T02:27:00.000+02:00

Select at least 3 projects on display in the ”it’s a small” exhibit and discuss how these relate to the 4 main exhibit themes: Sustainability, Human Scale, New Craftsmanship and Non-Standardised Praxis.

It’s A Small World was an interesting exhibit. I understand the message they were trying to share by bringing the world and its objects closer to you on a more relatable ‘human scale’, but I don’t feel that was fully accomplished in every piece. I visted the exhibit with my studio class, and Tina, one of the designers, said there were people from seven different groups working on the project… the mixing and mashing of ideas was rather obvious. That being said, some of the pieces did a better job than others of crossing over all four themes.

Sun Tiles – I really liked these. Green technology and energy is certainly the way of the future (especially with all of our tech gadgets) and it was interesting to see this light and flexible take on what we normally think of as clunky/roof resting structures. For me the solar panels did the best at covering all four themes. Sustainable, yes! New Craftsmanship, certainly. Non-standard praxis, I’d say so. Human Scale, I think we could see them used all over the places we live and work come the future.

Sun Tiles

Soul Wash – I didn’t understand this. Sure, running through carwash-like gigantic, swirling, suspended brushes is fun but I’m not sure what it has to do with sustainability and new craftsmanship. Non-standard praxis, sure… I typically don’t run through the car wash and I guess it provides the cleansing experience on a so-called ‘human scale’, but this idea just felt like a stretch for me.

Soul Wash

L. Campbell’s Chairs – Once again I’m somewhat baffled. Yes her designs are non-standard and the craftsmanship is new and unique, but I’m just don’t see where sustainability and human scale comes into play. Perhaps the ‘human scale’ aspect is realized in the fact we are talking about a chair, which is built for humans, but to me that is an obvious connection. For an exhibit to inspire me I want it to draw conclusions and make connections I wouldn’t have otherwise seen.

'Very Round'

Perhaps not every item was suppose to span all four themes, however it seemed like they should even if that wasn’t maybe the designer’s actual goal. Was it my favorite exhibit? No. But I did find its message important, even if the execution didn’t strike a chord with me.

PHOTOS [http://www.designboom.com/weblog/cat/8/view/7434/copenhagen-design-week-09-its-a-small-world-exhibition-at-the-danish-design-center.html]

Required Independent Group Field Study 2 : Danish Architecture Center

2010-04-18T01:51:00.004+02:00

Reflecting upon the group walking tour, now go out and map your own route through your favourite part of the city with what you consider to be the best ‘civic design’ attributes. The map should be made with the intention that you could give it to one of your fellow DD Classmates as an exciting design exploration guide under the theme ‘CIVIC DESIGN GEMS IN COPENHAGEN’.

The city of Copenhagen in itself is a ‘civic design gem,’ however there are certainly a few highlights you can’t miss on your visit to the Danish capital. If I wanted to show someone around the best parts of the city this is the route I would follow.

1. We would arrive to town via one of the three types of trains (metro, S-tog, or regional) at Nørreport Station. Nørreport is the one place where the three meet and is a major transit lifeline of Copenhagen. Beyond the trains, the first things you notice upon emerging at street level are the hundreds of bicycles parked at the station. These rows of bike racks speak volumes to the important role they play in transit around the town.

2. Next we’d make our way north before turning east to head into King’s Garden. Although there are many parks to pick from, Kings Garden has several distinctive features. First, it is located in the middle of the city, showing Denmark’s strong commitment to the environment and green space. It also showcases a royal castle that speaks to the country’s allegiance to its past while still being a progressive place.

3. After making our way east through the garden we would arrive next at Amalienborg Palace. Although a private residence, the Palace courtyard is open to visitors. I believe this is an important stop because it shows how welcoming and open the country chooses to be. Additionally the palace sits in the middle of an axis that extends from the marble church to the new Royal Opera – a very important series of buildings.

4. Following our stop to see the Queen we’d continue south to the beginning of Nyhavn and walk past the colorful cafes to the beginning of Strøget. These two places are worth noting because they eliminate car traffic and give the street back to the pedestrian. Additionally, Nyhavn rests next to the harbor, which illustrates its importance to the city. Continuing south on Strøget, one quickly discovers how strongly the pedestrian (and cyclist) is considered in the planning and redevelopment of the city.

5. As Strøget comes to a halt, we find ourselves in the City Hall Square. This place is important because it serves as a central bus hub for Copenhagen. Not to mention the City Hall where important civic planning decisions are made is located adjacent to the bustling traffic center.

6. Finally, we’d finish our tour at the Harbor Baths to take a dip and cool off after a long and thorough tour. The Baths are important because they prove the city has cleaned up the harbor water and is constantly trying to make it a place for the people.

Lecture 9 : Civic Planning

2010-04-17T19:55:00.002+02:00

Tuesday, April 13th 2010

Urban planning practices in the United States and Europe differ greatly. The US designs for the automobile, whereas in Europe there is a much stronger focus on public transit. The starting point for planners is also very different. Europe has a rich history with old buildings and urban organization to show for it. In the United States, urban planners take more of a clean slate approach to their designs, less likely to come across a man made lake used for defense or a 2000-year-old building.

I always thought large scale when referencing urban planning (perhaps because I’m from the States), but this lecture challenged me otherwise. One of the most important parts of urban design is how we interact with it on a smaller, more ‘human scale.’ Better-planned details 1) can lead to cost savings during renovations or alterations and 2) make an environment more (or less) inviting.

One of the most charming features of European cities is their use of cobblestone. What I once believed was only for looks, actually serves a higher purpose. Rather than laying slabs of cement and pouring tons asphalt that cover immense surfaces, cobblestones allow for quick and easy access to the utilities running below them. Jackhammers aren’t needed to bust through dense layers of concrete only to tear up an entire street. The cobblestone limits the effects of repairs and installations below the street level and also lessens the overall costs of construction. Cobblestone also makes it easier to install signposts, bus shelters, bike racks, etc because of its easily altered connectivity. It may take longer to install initially, but the accessibility of cobblestone certainly makes its use worth a second look.

European cobblestone

[http://www.cooltownstudios.com/site_index/2005/07/]

Road construction in the States

[http://www.arscott.ca/services.php]

Staying on the topic of cobblestone, I also found it interesting how European urban design planners specify the program of a place simply by the selection of their materials. Rather than hanging tacky and tasteless signs to ward of bike travel on a specific street, designers might employ cobblestone to create un-enjoyable biking terrain. Additionally the way designers might deter one kind of traffic, they may also invite another. Expansive squares and INCREASING pedestrian walkways further invite people on foot to the city center (while simultaneously driving out the car). Everything from LED lights in the pavement to expanses of pink carpet sounds peculiar, but I think it is a smart way to continuously push for more foot traffic.

Funky details further define spaces and serve as a reason to experience a city. I can’t help but notice while traveling in the US that every city has manhole and tree covers made by The Neenah Foundry Company. Elements such as these only express the homogeneity among US cities, further stripping them of an individual and welcoming qualities. Why should someone bother visiting Indianapolis if they’ve seen it all in Cleveland and Milwaukee too?

[http://www.flickr.com/photos/raynorgrace/830253287/in/set-72157600855949113/]

I however, must commend Minneapolis, MN for not only building a light rail train network, but for allowing local and national artists to compete for train station designs. This project to me sums up what we should be focused on! Designing on the large and small scale. Not to mention that all the stations are all made of brick platforms. This material made it easier to extend the stations to accommodate longer rail cars that were eventually added due to increasing ridership!

[http://www.subwaynut.com/minneapolis/28th/index.html]

So I say three cheers to Europe’s (and Minneapolis’) urban planners! May the rest of the United States someday catch onto your ideals and incorporate them into more public spaces.

Lecture 6 : Danish Fashion

2010-03-23T01:19:00.002+01:00

March 9th, 2010

Lecture by Marie Riegels Melchior

Good design has a long standing tradition within the country of Denmark. Known primarily for their furniture designers, the smallest Scandinavian country has made a push over the last half century to strengthen their reputation as a fashion capital. The effectiveness of this campaign is debatable, however I'd like to understand why being recognized is so important for the country of Denmark and the city of Copenhagen?

To fully comprehend this question we must first look back at the history of fashion in Denmark. During the 1950's Danish fashion simply didn't exist. Imports from France and Italy controlled the entire clothing market within Denmark. Local mass produced clothing certainly existed, however its impact on fashion was nothing in comparison to the Haute Coutures of Paris. However vernacular Danish clothing soon began to see a shift in the late 50's as a strong youth movement made it's way across waters and into the Nordic region from the USA and London.

Stores such as Deres and Nørgaard paa Strøget began infusing young peoples with a new sense of style; local fashion icons emerged and further progressed the movement. Quickly the trend caught on, and within the next decade the Danish government was using the fashion industry to bolster their image abroad. Finally Copenhagen was recognized as the Nordic Design Capital. So from an early start we see the government stepping in to make fashion an important part of Copenhagen and Denmark's branding. But why is this so important?

[http://www.deres.dk/] & [http://www.flickr.com/photos/16854488@N07/2857728323/]

Much like any business, fashion began outsourcing their work to Eastern Europe in the 70's and 80's after the Cold War. Business that did not outsource closed because manufacturing costs simply became too high. The Danish government chose not to subsidize the industry and yet today, fashion has become the country's fifth largest export. Here we witness diminishing governmental support for the industry, however it has been able to remain somewhat strong despite no federal assistance.

The influence of Danish clothing extended beyond the movement in fashion and eventually gained respect from the well established design community. The Danish Design Council began awarding clothing design awards which have branded icons such as Jørgen Nørgaard's "Rip 101" t-shirt. But despite the country's best efforts, Copenhagen ranks as #26 for fashion design... a far cry from Paris, London, NYC and Milan.

[http://multimedia.pol.dk/archive/00332/T_jhandler_J_rgen_N_332786c.jpg]

After understanding the history of Danish fashion, I still wonder why it is so important that Copenhagen put itself on the map as a cultural center for clothing design? Denmark is known for their furniture, lamps, etc. Why not stick to what you know best? I do understand their is an inherent power to championing multiple genres of design, but perhaps Danes are content with the #26 ranking. We can't all be good at everything. This situation also raises the question of wether Copenhagen should try as desperately as Antwerp to put themselves on the fashion map?

Japanese advertisement for a runway show featuring "Antwerp Fashion."

[http://www.superfuture.com/supernews/?tag=walter-van-beirendonck]

Antwerp decided it wanted to be a fashion hub and so people went to great lengths to try and establish its place among clothing's top locations. Museums, tours, etc all focused around fashion popped up over the city and in their defense it's worked for the most part. But despite Antwerp's success, I still don't see a reason why Copenhagen should feel so compelled to enhance it's fashion status around the world. Why not try and produce the best cars? The decision to choose fashion seems somewhat arbitrary to me. My advice to Copenhagen: stick with what you know. Furniture. If the city is meant to become a fashion hub it will happen, much like furniture's golden age. So, embrace what you have and don't be too greedy!

Reading Review 2 : Welcome to Walk the Plank

2010-03-19T00:29:00.002+01:00

February 26th, 2010
Reading: Welcome to Walk the Plank by Tine Nygaard & THomas Dickson

WALK THE PLANK was a collaboration between Danish furniture and Danish cabinetmakers in 1999. 20 pairs of designers were given a plank of wood with the task of creating a piece of furniture. Hoping to combine the skill set of each designer, the pieces were then auctioned off and the money used to establish a fund to which future designers could apply for grants to develop new prototypes. Although much of the article didn't focus on the 1999 collaboration, it did explain how this unique event fit into the historical context of Danish design.

One of the main goals of WALK THE PLANK was to increase communication across design fields. It also aimed to break the mold of young designers trained in a sometimes too academic setting. Lastly, the project tried to spark imagination between the designer and manufacturer to create new designs, when the relationship is usually mute.

The article further highlighted the issues with manufacturer/designer relations. Today we've begun to witness a flux of manufacturing companies that have begun to act as design filters. New designers will show manufacturers their latest creations, only to have the them select the pieces they feel will become the next hot sellers. This process is limiting in several areas. First, it prevents designers from thinking too far outside the box. It trains them to stay within certain parameters so that they can get their pay day. And secondly, it limits any concept models from reaching the public sphere. In the auto industries and fashion arena, its the avant grade styles and concept cars that gauge what the consumer is ready to handle. When manufacturers sit above designers playing design God, the creations we see on Earth are not representative of our designers' true genius.

car and shoe concepts

CAR [http://cache.jalopnik.com/cars/assets/resources/2007/10/Honda_PUYO_Concept_Car.jpg]

SHOE [http://www.shoeperwoman.com/wp-content/uploads/2009/10/alexander-mcqueen-shoes.jpg]

This idea of catering to mass production was an unfortunate trend that WALK THE PLANK was trying to avoid and in some cases, counter.

As the manufacturer has gained more influence over designs, their demands on the designer have been raised. No longer are designers able to create an accurate representation of themselves in their work, they are forced to concede to the consumer. In today's age we want, cheap, functional, affordable, aesthetically pleasing, forward thinking and eco friendly designs... but is that even possible? Trying to include all these components into a product or piece of furniture is plainly stated: unrealistic. However, these are the precise molds manufacturers are demanding be filled.

So we've seen the bad, but is there any good in this manufacturing model? The answer is yes.

When the Academy of Fine Arts in Copenhagen began changing under the direction of Kaare Klint and later B. Mogensen we saw a shift back towards client oriented design. This new middle ground between the custom furniture of the past and ultra-manufactured pieces that had begun to dominate the market came as a breath of fresh air. However the support of what became known as the Association of Danish Cooperatives' furniture division (FDB) ended before it's time had come. Today, the Swedish furniture giant, IKEA, follows similar principals of the FDB.

a set of IKEA furniture

[http://www.apartmenttherapy.com/chicago/painting-fixing-repair/roundup-paintable-wood-ikea-furniture-047775]

The reading went on to highlight the rise of industrial design in today's world, but never gave much conclusion to the WALK THE PLANK experiment. From the tone of the article it seemed successful. I wonder what has become of the money raised and how it has impacted the design scene in Copenhagen? I believe the concept should be brought back every few years to once again ignite a new generation of designers. Who knows, maybe someday it could spawn another Panton, Juhl or Jacobsen.

Symposium 5: Design Based On Tradition & Modernity

2010-03-15T22:53:00.002+01:00

February 26th, 2010

Reading: Craft and Experiments from PP Mobler's Workshop for 50 Years by H. Kaerholm & S.M. Hvass

Presenters:

1. Find an object at home of Danish design (preferable something that you've used or brought here) that is aesthetically pleasing bt turned out to not be very functional. Discuss why it didn't work properly and how this relates to the designer undrstanding material and craft.

Occasionally I need to restock on the necessities: soap, shampoo, etc. Away from home and trying to save money for traveling I head to Tiger. I know, it’s not the greatest, but it works well enough… usually. During my shopping trips to the one stop shop I occasionally become enticed by something outside my shopping list. A few weeks back I came across a grouping/bouquet of picture clips stemming in different directions from a white-cube base. Visually appealing, I thought this would be a great way to display the stack of note cards I’d been collection from various Gratis Postcard stands around Copenhagen. My plan failed.

The picture clip bouquet was dysfunctional on several levels. First, the lengths of the wires were far too similar. This caused the post cards to sit at the same height blocking one another from view. Second, the wires were flexible but always popped back to their original place despite my best efforts to maneuver them into a functional layout. The only thing that functioned properly was the base. I was worried it wasn’t heavy enough to support a bouquet of cards or pictures, but it managed just fine! Too bad the rest of the product didn’t work so well.

My picture display uses the bouquet style from the image on the left with the vertical orientation of the picture clips on the right.

[http://www.amazon.com/Umbra-Fotofalls-18-Clip-Desktop-Holder/dp/B000KPJEZC]

[http://www.tigerstores.co.uk/products/1/tiger_home/98846/memo_holder/]

The product didn’t work properly because a strong effort was not put into testing the design. It would have been nice if the wires were moldable, but that wouldn’t be so important if they’d been at varying heights. Besides the issues with the wires, the clips worked fine and the base functioned well. I’m glad I only spent ten kronor on the display piece… I think it’s going to stay here in Denmark. No sense in wasting suitcase space on something I’m just going to toss out once I return home.

2. Looking towards the future: what possible changes in industry would lead to a change in the relationship between designers and manufacturers? Are ther no new designs as the authors emphasize in the readings, where all new designs are based strictly off of designs pre 1970s, or do you think there is new ecofriendly and innovative Danish designs that help the world?

Looking towards the future of design, if we are going to further develop relationships between designers and manufacturers we need to think local. Outsourcing manufacturing jobs to foreign countries (where a different language is spoken and factory workers, not craftsmen, are left to construct products) creates a detrimental breakdown in communication between a designer and manufacturer. By producing products more locally, the designer can have a stronger hand in the production of a product. Additionally, as one works more intimately with raw materials they may begin to see more potential for future designs. When that hands on approach is shipped across the ocean for someone else to experience, the potential is lost.

When it comes to new ecofriendly Danish designs, I can’t think of any one specific product, but in a sense the impressive environmental record of Denmark is a design that can help the world. With an abundance of public transit, bike friendly cities, a commitment to green energies and organic food, Denmark’s way of life is a design other countries should adopt.

Reading Review 1: Danish Design, A Structural Analysis

2010-03-10T19:00:00.012+01:00

February 2nd, 2010
Reading: Danish Design - A Structural Analysis by Anders Kretzschmar

Kretzschmar's 2003 article titled Danish Design - A Structural Analysis, focused on the history, state and future of Danish design. Through a series of studies, the author evaluates what needs to be done in order to continue to spread the knowledge and work of Danish designers as we move further into the 21st century.

As we well know, Arne Jacobsen was the founding father of Danish Design. Others, such as Utzon and Henningsen also began their illustrious careers around his time. These prominent designers were known for working independently rather than running a large firm that tailored to the needs of a client. Jacobsen, for instance, was famous for tweaking his contracts so he could design every last element of a building - even the handrails and doorknobs.

We’ve begun to see a growth of design jobs over the last 10-15 years, but the market still remains a small fraction of Denmark’s overall economy. Of the current designers, most still choose to work independently as ARTISTIC DESIGNERS, much like Denmark’s stars of the past. It’s not often one will come across SERVICE/CLIENT DESIGNERS, who tailor their jobs to fit the needs of someone else.

The studies evaluated show that Danish designers must make stronger efforts to connect with their clients and expand their businesses outward. Despite an overall satisfactory mark from clients, Danish designers are still known for having poor communication skills. If Denmark is to put itself of on the map as an even larger European design capital, it is essential that designers being to work better with the people and expand their ideas to create larger firms.

However at what point does one “sell out” and become a designer that works for others over themselves. We walk a thin line when talking about art and design. Is design for people and art for ourselves? Are there times when the two words are interchangeable? 70% of surveyed designers said they want to expand internationally, but can they pry themselves away from their solely artistic background to reach out to more clients?

I applaud the country of Denmark and its designers for hoping to share their designs with the world. After living here for several months, I understand just how seriously they take the matter. However, I would like to close with a warning not to get too carried away with expanding your empire. Do it carefully and purposefully. Stay true to your roots. The minute Danish designers begin to loose sight of their past, the more homogeneous Danish design will become – and Danish design is an all too important part of Denmark’s history to loose.

Required Group Field Study 1 : Illums Bolighus

2010-03-09T00:12:00.015+01:00

Select one of the classic/historical works of product design seen on the filed study today that you are familiar with. Select a new/contemporary work that you are seeing for the first time within the same genre. Compare and contrast the 2 in a critical reflection.

Arne Jacobsen is arguably Denmark’s most respected and recognizable designer. His Egg and Swan Chairs that debuted at the SAS Royal Hotel have become landmarks in Danish design. What made helped make these chairs so famous was their unique shape. Smooth and curvy, Jacobsen’s chairs pushed the way designers and consumers viewed the experience furniture can have on the body. But as we know all too well, one good design leads to another, and pretty soon your idea becomes someone else’s creation. Sadly, we’ve witnessed the manipulation and distortion of Jacobsen’s 1958 masterpiece by Spanish designer, Patricia Urquiola.

Jacobsen's Swan Chair

[http://arquidocs.wordpress.com/2009/10/]

Born shortly after the Swan Chair's creation, Urquiola began her career as a lecturer but soon started working as a designer herself. With plenty of pieces to her name, I came across BLOOMY while touring Illums Bolighus in Copenhagen. Although descriptions of the piece pay no homage to Jacobsen’s Swan Chair, its form suggests otherwise.

Bloomy

[http://bestchairsdesign.blogspot.com/2008/05/patricia-urquiola-bloomy-armchair.html]

Suppose to “symbolize the stages of the life of a flower, from budding to full maturity,” the piece comes in a variety of bright fun colors and textiles. Bloomy also take shape in a couch-like form and is accompanied by a small side table. Together the set tries to create its own identity, but there is no hiding that Urquiola has clearly drawn inspiration from the Danish classic.

Bloomy Couch

[http://www.bonluxat.com/a/Patricia_Urquiola_Bloomy_Seating_Collection.html]

I understand this happens all the time. Old pieces are given new life in a current designer’s reinterpretation of the furniture. However, what I find discomforting is how Urquiola finds no shame in ignoring the form’s creator. Additionally she goes on to describe the piece as if it were her own original idea. What’s so wrong with admitting the form of your chair grew from inspiration by someone else’s? I would be the first to admit Patricia Urquiola’s Bloomy collection is very beautiful and quite sculptural, but to give her full credit for the design would have Jacobsen rolling over in his grave.

So this leaves me with the question: When is it OK to reinvent someone else’s creation? When you give them credit? When you enhance their original intentions? Designing pieces that mimic others walks a very fine line between genius and copy. At this point, I would call Bloomy a copy.

Symposium 4: Craftsmanship & Mass Production

2010-02-23T01:22:00.011+01:00

February 19th, 2010

Reading: Applied Art Between Nostalgia & Innovation by Kristian Berg Nielsen

Presenters: G. Cohen, A. Russo, E. Tandaramp & I. Wennerberg

1. Explain the debate between John Ruskin and futurist Marinetti. Which one can you relate to and why?

The debate between Ruskin and Marinetti is one that will never be settled. Ruskin is best known for his contributions to the arts and crafts movement of design, highlighting the importance of and appreciation for imperfection. Marinette on the other hand, a futurist, believes the industrial object (a product of mass production) is more important than the individuality of something hand crafted. Both points are completely valid. I don’t side with either philosophy but can offer defenses and criticisms of both.

Ruskin’s ideals blend perfectly in a society that honors and sometimes worships strong accounts of individuality. The arts and crafts movement also fosters a greater sense of creativity. On the flip side, hand crafted products cost more, take longer to produce and are sometimes irreplaceable. The amounts of resources (time and money) devoted to a single output are so great that the practice can only be considered viable for certain goods (jewelry, artwork, etc.). Attempting to create large-scale products (cars, homes, etc) would be far too impractical to meet collective societal needs.

Custom crafted jewelry by a friend (below)

[http://www.etsy.com/shop/fromthemoon]

A custom designed car (below)

[http://www.fastcoolcars.com/images/wallpaper37/2005-nopi-big.jpg]

Although many argue Marinette’s philosophy is too limiting and the outcome uninspiring, there are certainly advantages to mass production. First, it lowers cost allowing more consumers to afford everyday objects (trash cans, plates, etc). Spending less on many things, may allows for greater expenditures on handcrafted items as well. However, this too is a double-edged sword. Manufactures may not take the appropriate measures to ensure their product is of upmost quality as turning a profit is first and foremost in their mind. Cheap, quickly made products may require sooner replacements, calling for an unnecessary use of raw materials again. Additionally, the designs can sometimes be overly vernacular, uninspiring and lack individualization.

Given my choice I would select John Ruskin’s hand crafted product. It is more important for me that I know where my goods came from, what they represent and that I take care of them. I’m willing to sacrifice quantity and low price for something I know was built to last and built with a heart behind it.

2. Do Danish designers employ futurism in their design for solving everyday problems?

I do think Danish designers employ futurism in their designs. As noticed in many homes, it is very popular to follow current trends in furniture, accessories, etc. However, I find Danish design peculiar in the sense that these massed produced products began along the lines of arts and crafts. For example, the Royal Copenhagen china collection. What began as a very special and unique collection has since become more popular and the products more massed produced. In an attempt to fall between the definition of arts/crafts and futurism, the plates are still hand painted. I believe this collection truly reflects the essence of Danish design.

[http://www.royalcopenhagen.com/Craftmanship.aspx]

Symposium 3: Making High Quality Design Available to the General Public

2010-02-23T01:04:00.005+01:00

February 12th, 2010

Reading: Danish Democratic Design (1800-2000): A Tender Birth of Democratic Design Culture by Jarl Heger

Presenters: D. Heller, H. Kelfer, K. Ryan & J. Treitman

1. Do you see a merge between politics and design in Denmark? If so, why is it successful?

I’ve only been in Denmark for a month, and with no previous knowledge about politics and design my knowledge base to answer this question is limited, however I do believe there’s been a merge in politics and design within the country. In the article Danish Design – A Structural Analysis, author Anders Kretschmar notes that the Danish government has begun to encourage designers to work internationally. During class we were informed that the government’s incentives had been successful.

It is encouraging to see that Danish designers have become more recognized globally, however success doesn’t come without a few drawbacks. To begin, we’ve seen more designs copied by discount stores such as Tiger. In my opinion these knock-offs discredit the designer, as someone else is now making profit from their once original creation. At the same time, the abundance of affordable good-looking products made popular through the merging of politics and design may further inspire others to design. Is it good or bad? I think the answer to that question depends on how much of an elitist you consider yourself.

Coatrack from Tiger (first photo) mimicking Eames' (second photo) famous 1953 design.

Tiger [http://www.tigerstores.co.uk/products/1/tiger_home/1000887/coat_hook_/]

Eames [http://www.furniturestoreblog.com/2008/11/22/modern_coat_rack_by_eames.html]

2. Choose something that you have bought here in Denmark. Is it well designed? Why did you buy it? Is it a product of democratic design?

My first weekend in Denmark I accompanied my family on their Saturday shopping trip. Preparing for a ski vacation, we stopped at a winter sport shop. While browsing the camping equipment I came upon a spork. I’d eaten with disposable sporks since kindergarten, but decided it was a wise idea to purchase a reusable one for my packed lunches. Too often I use disposable silverware at work. With access to a sink it’s silly to contribute to landfill waste on a daily basis.

[http://www.lightmyfire.com/data/images/green-apple-spork-popup.jpg]

The spork is green, sleek and very functional. Its gentle curves feel good in your hand and the duality of its two ends provide the user with a knife, fork and spoon. The only downside is you can’t change between the fork and spoon without cleaning off the other side. I haven’t used the spork yet. I hope it woks well. One thing is certain, it will reduce landfill waste three plastic silverware pieces at a time.

Symposium 2: Marketing & Branding REFLECTION

2010-02-23T00:51:00.007+01:00

February 2nd, 2010

Reading: Danish Design - A Structural Analysis by Anders Kretzchmar

Presenters: L. Rinquist, K. Stark & B. Tully

Overall Feelings

In general I believe our presentation was a success. We had clear talking points, proficient analysis of the readings and appropriate discussion questions. As a unit our group worked well; each member was reliable and always had their work finished on time. Strong group communication and thoughtful analysis of the material lead to a presentation that was both visually and intellectually stimulating. However, with that being said, there is always room for improvement.

What We Did Right

When structuring our presentation it became very important to us that classroom interaction occurred throughout the symposium. Thus, I believe we were successful at engaging the audience early on with the drawing exercise and comparative Target/Apple advertisements. Additionally I think it was a good idea to start the scope of our presentation wide, talking about the history of marketing/branding, only to become more defined at the end, which included the reading review and reflection questions. Finally, I believe our discussion questions raised awareness of key issues from the required reading; students left with good information to use in their Danish Design Journal reflection.

What Could We Have Improved Upon

Looking back on the presentation, I believe some of our earliest material was the weakest. The slides that included colors and shapes of logos were headed in the right direction, but I’m not sure they were poignant enough or relative enough to the situation. Additionally, our examples of advertisement campaigns were focused solely on American companies. Expanding our scope to include a few Danish companies would have been more appropriate. Finally, I believe showing more (pictures) and telling less (words) with the power point would have made a stronger impression on our audience. For example: in the history of branding slide we should have used pictures of branded cattle, not just words associated with the action.

What Should Have Been Left Out

I felt most of our material was relevant and beneficial to the class, however some points of our presentation were rather elementary and essentially common knowledge. Again, the section with colors and shapes was quite obvious and I hardly imagine anyone took new information away from that section. In general, the first couple points of our presentation could have been thinned out to create space for more discussion on comparative ads (like Target and Apple). Finally, the reading review outline may have been too comprehensive. It was almost too detailed that it gave away everything from the required reading to people who didn’t take the time to complete it before class. On the flip side, this may have helped sparked the quality discussion by the end of class.

Final Reflections

I’m happy and satisfied with our work. Nothing major needed overhauling in our presentation. We didn’t run short on time, we didn’t run out of time. People were engaged and their was a variety of discussion on all components of marketing and branding. I believe we satisfied the goals set out for us on this symposium.

Symposium 1: Defining Design & Designing Design

2010-02-21T23:58:00.007+01:00

January 26th, 2010

Reading: Form & Distinction by Ole Thyssen

Presenters: J. Butts Jr, Annika Yates & Dani Hill

1. Now knowing that a design element must serve a function, how is the design of an object informed by the system in which you belong? Chose a design that fits within your system and discuss how it exposes that system?

I am a communicator. Well, we all are communicators, however I particularly communicate a lot. I spent majority of high school on the speech and debate teams, I serve as an Admissions Ambassador and tour guide at my home university and I’m majoring in Communication Studies. Now that is a lot of talking.

But what is it that allows us, especially in today’s society to communicate so fluently? I believe our rapid sharing of technology has led to great advances in the communication system. Therefore, the cell phone best fits and highlights the parameters of my communication system.

What began as a simple, mobile version of the standard telephone, has transformed leaps and bounds into a social networking and information-sharing device used by millions. Tweets from our friends keep us in the social loop, while CNN News Break text messages keep us informed on the world’s latest happenings. Internet phones have us surfing the web from the seat of our toilet and text Google makes the Yellow Pages a thing of the past.

[http://wphacks.com/wp-content/uploads/2008/05/web-icons.png]

Yes, the technology is remarkable, but what makes the cell phone so successful at communicating? Obviously, it’s a phone. But the real reason cell phones are successful tools of communicators is their price. Cell phones are affordable; often free with a service contract, giving majority of the population access to an array of wireless means of communication.

2. Thyssen's cynical point of view regarding art and design system suggests that we are all "cogs in the machine" and that everything to bed done has been done before and everything that will be created will be made obsolete immediately. So why continue pursuing design?

Despite Thyssen’s cynical point of view regarding the design system, I believe we are more than “cogs in the machine.” As designers we hold immense power. Design can be forward thinking. Design can break boundaries. Design can inspire. To say it has all been done before is nonsense. Of course, you can’t create something out of nothing, but by no means has everything already been created.

As technologies develop quicker products become obsolete faster. For this reason it is crucial to keep pursuing design; design helps push limits. We’d never have laptops thinner than 1-inch if the first computer hadn’t filled an entire room. Today’s skyscrapers could never reach over half a mile if our first buildings weren’t made from wood. Our cars still don’t get very good gas mileage… but greedy oil companies at the root of that issue are an entirely story.

[http://stlouiscore.com/wp-content/uploads/2009/10/old_computer.jpg]

[http://www.passportchop.com/wp-content/uploads/2010/10/macbook-air.jpg]

To stop designing because everything has been designed would be like saying we should stop writing books because every story has already been told. There will always be new stories to tell and likewise problems design can help solve. Take a look at the world around us. The threat of global warming is quickly mounting its attack against us. This is a new problem. One our society has never seen before. With forward thinking and bright ideas, design will save the world. Green buildings, green energies, green modes of transit, etc. are all outputs of the design community stepping in to play the role of super man.

Sorry Thyssen, I have to disagree. Your views may be just another cog in the machine, but my ideas stretch a little further outside the box.

[http://ecohomeresource.com/images/TIME%20Style%20%20Design%20Cover%20%27Green%27_smallest.jpg]

Lecture 1: What is Design?

2010-02-21T23:37:00.009+01:00

January 22nd, 2010

Below is a list of every designed object I touched this morning before leaving for school:

iPod • door handles • knife • drawer handle • hanger • bathroom key • shower fixtures • cutting board • thermostat • light switches • desk • bed • table • chairs • plate • fridge • kitchen sink/faucet • dresser • cup • water pitcher • house keys • back pack • school supplies • towels • cell phone

So then, what is design?

“Design is a plan for arranging elements in such a way as best to

accomplish a particular purpose.” -Charles Eames

“Design is where science and art break even.” -Robin Mathew

It doesn’t matter if you agree more with Eames or Mathew, both responses are correct. The concept of design is too expansive to pin down with a definition or axiom. Design isn’t about the meaning of a word, but an understanding of many inputs to a single output.

To change, is to create, is to design. Everything beyond natural elements in their environment is designed. The first humans whittled the ends of sticks to design spears. Apple Inc develops technology to design Macs. The spear was designed by changing the shape of the wood to create a weapon. Macs are designed by changing electronic technologies to create computers. The earliest spears were strictly utilitarian objects; the iMac has become so much more than just a computer.

[http://webprojects.prm.ox.ac.uk/arms-and-armour/600/1927.80.1.jpg]

[http://www.digitgeek.com/wp-content/uploads/2007/12/apple_imac_20.jpg]

Is one design better than the other? Does it matter that Apple’s products are more visually appealing than the Neanderthals? Design, like most things, is relative. Thousands of years ago, survival was the only thing on the minds of our earliest ancestors; the color of the spear didn’t matter. Survival in today’s dog eat dog world of business requires different, less barbaric, strategies. The symbol of status that accompanies a new iMac is one that showcases success and prosperity, key elements of survival in today’s business world.

In my opinion, good design meets the expected program for a product. I expect a towel to dry me off. If a towel is less absorbent towel than expected and I’m still wet, well, the design is bad. If I expect a handle to open a door and the handle easily breaks, that too is bad design. But, if I’m dry and the door opens the design is good.

Most of our everyday products are good designs: knives, toilets, beds, light switches, etc. But some products are great designs. Once again, the judgment is all relative to the adjudicator’s expectations. I believe my iPod touch is great design: light weight, intuitive and multi-purposeful. But not all great design is an advanced technology. If a knife cuts better than expected and fits your hand ever so perfectly, one may consider it great design.

[http://www.pocketpccentral.net/mp3c/images/ipod/ipod_touch_diagram.jpg]

There you have it. Design is utilitarian, design is aesthetically beautiful. Design is good, design is bad. Design is a creation, a manipulation a product of change. Our taste is certainly subjective, but that is what makes design great.