Graphic. DIY. Wood. Manifest. Trends. Dialogue Through Design. L'objet du design. This Week from Tokyo. This week Tokyo correspondent Jean Snow eschews the customary survey of recent events in Tokyo and instead sent in this interview with one of Japan's design giants, Naoto Fukasawa. When you went freelance four years ago, one of your desires was to see more of your designs actually get produced. Now that you can expect most of what you design to make it to retail, has this affected your design process, or how you consider what to tackle next?
I understand that my role as a designer is about bettering our living. Some people think that designers try to bring in concepts for bettering and predicting the future. I wouldn't say that this is any less important, but after working on many design concepts or advanced planning, I've become more attached to the current life, and have started considering the betterment of our lives in a reality where we all belong, rather than predicting what could happen. My works today are about this reality, and so are more feasible. KDDI INFOBAR phone. Laurent Corio : le syndrome du caméléon ou le paradoxe du style « Withdesigners.com. Nervous System. Tupperware's Take on Building Design Teams for Successful Products Globally. Loyalty can be achieved if you care about the people who buy your products and strive to make their life a little bit easier, says Susan Perkins, Vice President - Global Design at Tupperware. Products that are relevant, serviceable and lasting are able to cross borders, but to ensure global success, cultural awareness needs to be injected into the product design process.
The recipient of the 2009 Design Team of the Year Award and a speaker at the marcus evans Industrial Design Summit 2010, taking place in Cannes, France, 22 - 24 November, Perkins shares her vision of culturally sensitive and diverse teams who create products that serve a purpose, have an emotional impact on people and create brand loyalty. Why is cultural awareness in the design process important and how can it be incorporated? Cultural awareness is required to create products that solve real problems and add value to people's lives.
What makes a product a global phenomenon? How can one achieve product or brand loyalty? Lella Vignelli. Painting of Lella Vignelli by Jessica Helfand after a photograph by Beatriz Cifuentes, 2010 Thirty years ago this summer, I graduated from design school in Ohio and moved to New York to take a job at Vignelli Associates. Even then, Massimo Vignelli was a legend. Other designers who heard where I would be working always seemed to have a story about him. Only a few of these were true, but most were outrageous. I knew next to nothing about Lella Vignelli, Massimo's wife and partner, alongside whom he had been working for his whole career. I remember running into a former Vignelli Associates intern. "Oh, wait till you meet Lella," he said, mysteriously. It was at the end of my first day when I was presented to Mrs.
I quickly came to understand the relationship between these two brilliant designers. Although Massimo hired me, it was Lella who gave me my first break. Lella taught me about the value of design, literally. I was young and naive when I started out. Lella Vignelli, circa 1980. Interview with Massimo Vignelli. Painting of Massimo Vignelli by Jessica Helfand after a photograph by Beatriz Cifuentes Massimo Vignelli was one of the few designers I had not personally met prior to our interview, and as a result, I approached the date of our meeting with a certain amount of nervousness.
It didn’t help that this was also the only interview wherein I inadvertently stood my subject up. That’s right — I mistakenly scribbled down our mutually agreed upon meeting time in the wrong box of my crude, paper calendar and missed the meeting entirely. In fact, it wasn’t until many hours later that I even realized that I kept Massimo waiting for my arrival. This alone highlights Massimo’s incredible spirit, his joie de vivre, his humor and his generosity.
Debbie Millman:How important, if at all, is writing to your work? Massimo Vignelli:Well, I write all the time. DM: Why did you choose to live in New York? MV: It’s a long story. DM: What do you think contributes to making it so special? MV: It’s the energy. Publication de la recherche en design : un modèle à inventer ? » Design et Recherche - Fabio La Rocca et Alice Peinado sont respectivement sociologue et responsable du programme design et management de la Parsons Paris School of Art and Design. L’article qu’ils ont rédigé conjointement pour la revue de recherche Collection, Une sociologie du quotidien : une rétrospective des pratiques sociologiques qui animent le design, s’attachent à présenter quelques théories issues de la sociologie contemporaine et qui seraient à même d’intéresser les designers dans leurs pratiques. La première partie de l’article s’attache à mettre en avant les liens entre la sociologie du quotidien et les quelques designers plus ou moins impliqués dans la recherche (Victor Papanek, John Thackara et Tim Brown).
La volonté clairement affichée dans l’introduction, celle de présenter des théories de sociologie en lien avec le design, prend véritablement forme dans la seconde partie du texte. Fin de l’année 1977. [...] Un autre extrait : Un dernier passage : Photo de JOE WU sur flickr. Interactions magazine | Solving complex problems through design. Appreciating the Genius of Everyday Objects | Co.Design. The star in Vitra Design Museum's upcoming exhibition is the kind of design that might awe even Dieter Rams or Naoto Fukusawa: proven functionality, unfrivolous forms stripped to its basics--not easily improved and in such widespread use as to go unnoticed. Yet, take these things away, and we'd be lost.
"Hidden Heroes: The Genius of Everyday Things" opens next week at the Vitra campus in Weil am Rheim, Germany. It presents 35 design classics from the closet hanger to the paper clip. The idea was sparked by an earlier exhibit, ? The Essence of Things," which looked at minimalism in art, design and architecture. Curator Jochen Eisenbrand says he wanted to further explore a response to the fickleness of design. "There's a new fashion trend called out every year, sometimes every season. One reason is that there's not much modern society needs that hasn't already been invented. "We're trying to put the spotlight on these objects to raise awareness of how great design can endure," he says. Whitevinyl. Bent by the Sun. Essay Azby Brown The characters engraved on this stone basin from Ryoanji Temple in Kyoto comprise a visual pun which can be read "I know what just enough is" ("Ware tada taru wo shiru").
All illustrations by Azby Brown, from Just Enough: Lessons in Living Green from Traditional Japan. Sometimes a simple investigation can lead us along an unexpected path. This spring I will have lived in Japan for 25 years, as a student, artist, designer and teacher. My interests here have taken me from a study of traditional architecture to a long, deep look at the urban development of Tokyo to several books on manufactured housing and small-footprint dwellings. But it has only been recently that the thread that unites these varied areas, a seemingly inexhaustible vein of connected and sometimes startling ideas, has become clear to me. I was initially drawn to Japan by its carpentry. The first crucial conversation was about time.
The next conversation was about water. What about Japan today? « Pourquoi ne pas devenir designer… » sur ŒilpourŒil.ca. Colourful mochi toys to learn Japanese. Ridiculous Design Rules - Home.