Consistently, as designers, we process data, perform predictions, and make physical renderings of our abstract ideas. We outline our space, our collaborations, and our future. Design is both articulation and correspondence of information, and it additionally gives an approach to better comprehend correlations between ideas and determine purpose. The word itself is both an object and an action; it is a result of reasoning and an augmentation of reasoning, with its roots in the Italian word for "making." Regardless of whether interpreted as a thing, a verb, or both, design surrounds us: in human-made and organic compositions and in the manners in which we speak with and comprehend each other and our identities. Design is impacted by a scope of powers. A single idea or concept initiated by a certain individual can be influenced by others, based on community and context. These issues can additionally range from social to philosophical or moral. In this light, design is significantly more than the making of objects for the purpose of beauty alone. Rather, design is utilized to create conversation, to interpret an abstract idea. As designers, we fill in as transmitters of messages, as well as translators and go betweens. More than creators, eyewitnesses, or controllers of data and thoughts, architects are members in the creation, feedback, and spread of culture. Designers create meaning through physical manifestation, which consists of lines, shapes, pictures, and hues. A design has no mechanical capacity, yet it can move, educate, or motivate to action- it has a function. Creators engage audiences, bringing purpose and intention to forms, making an enduring impression or wanted reaction. Building a feeling of interest, possession, or dedication to a concept is a designer's desire. This feeling strives to create enthusiasm and interest around the topic, to catch the audience's eye and tempt them to interact further with the concept. When designing around concepts, from coffee to music to politics, designers can rely on context and situational information to help them shape their designs to captivate and compel audiences- this often stems heavily from cultural context and content. The designer predicts the audience's cultural and social voice, expecting a certain interpretation of the design based on these factors. Based on this premeditated identity, designers expect the receiving end of the design, the audience, to interpret a certain meaning from the work.
Above: Form Follows Function Sofa, by Daan Mulder. Form follows human needs; in the case of this work, a place to sit and rest- from the Hierarchy of Needs: if we remain standing all day every day it puts pressure on our lower backs, our knees, our feet begin to hurt. Early in human history, chairs were invented to relieve the human condition of pain. Function is intended for human desires pleasure- from human history, the most ornate and well-decorated chairs were delegated to royalty only. We as humans do not only want our objects to be practical and useful, we want them to be beautiful as well.
Source: https://uxdesign.cc/how-is-form-follows-function-to-21st-century-design-335737a73305
Above: An image of an Apple Store. Though Apple Stores vary from city to city, state to state, country to country- they maintain an exclusive and iconic aesthetic. The minimal, organic textures and colors, the bold and nearly stark lines and geometric shapes, the futuristic glass exterior- all of these format Apple's well-known aesthetic. Source: https://www.digitaltrends.com/mobile/australian-apple-store-incident/
Above: A kawaii-style store in Harajuku. The bold and childish colors, geometric forms, and explosion of content (nearly overwhelming the senses). The concept of kawaii centers around childish and playful themes, this store embodies this concept by mimicking a child's playground (primary colors), including absurd and playful elements such as an oversized stuffed rat. Source: http://icosnap.com/visit-6dokidoki-store-harajuku/
Above: Very different cultural interpretation of a symbolic hand gesture- the peace sign, a playful and fun gesture here in the US, is the cultural equivalent of flipping someone the bird in several Commonwealth countries. This translates to design as designers must tread carefully, cross-examining and predicting the interpretation of their designs as potentially offensive, from culture to culture.
Works Cited:
Bowers, John. Introduction to Two-Dimensional Design Understanding Form and Function. John Wiley & Sons, 2008.