And in an additional example of borrowing in design, consider this discussion of the iPod, particularly the original white iPod and the new white Nano iPods: Luke Williams of frog design writes about the apparent borrowing of "clean" aspects of bathroom design--think smooth and white, like porcelain bathtubs--in the design of the iPod.
Historically, designers and manufacturers have made interesting use of conventions in design to alter the way people perceive products. The public once thought electricity was dangerous and expensive, so to change this perception, the electricity industry sought to project the image of electricity as a modern and progressive source of energy. To symbolize these qualities, designers used the conventions associated with ‘technological futurism’—chrome plating and streamlining. In 1955, industrial designer Henry Drefuss wrote that changes in the design of the modern kitchen had been brought about ‘by two things that had nothing to do with cooking a meal—the automobile and the airplane.’
Although the symbolism has changed, the iPod also uses conventions to appear ahead of its time. Its surfaces are seamless and have no moving parts— two conventions that have often been used in science and science-fiction to connote advanced technology. Remember the seamless, molten-metal bad guy in Terminator 2? Or how about the perfectly seamless, black monolith in 2001: A Space Odyssey?
At some level, I admit this seemed to stretch influence a bit, like an academic paper deconstructing a physical design (which isn't bad, but sort of handwaves around--deconstructs, actually--issues of intention). But as Williams points out, Jonathan Ive, the designer of the iPod, has designed an extensive range of products that includes bathroom fixtures. So while he may not have thought, Let's make it look like a bathtub!, he also clearly understands what meanings people will make from various textures, colors, and shapes.
[via Anne and Gizmodo]
Posted by johndanseven at September 13, 2005 08:28 AM