The role of industrial design in creating a product for the electronics market. Industrial (industrial) design - what is it
Industrial design (ID) is an offshoot of the interdisciplinary field of general design that traces its lineage to the skills that artisans have used for millennia to design and create various items. Industrial design, however, is specifically seen as a product of the first industrial revolution, during which the artisan lost responsibility for every stage of product development, from concept to sale, although the separation between product creation, idea and production process appeared by the early sixteenth century, when manufactories began to specialize and trade to expand.
The use and development of new technologies, production methods and materials in the eighteenth and nineteenth centuries allowed the development of mass production, standardization, principles of modularity and diversification of projects to meet the needs of new target groups. This development also required the emergence of new forms of collaboration between various experts and the development of progressive business models to stimulate mass consumption.
Although many books have been written in an attempt to capture the essence of design, there is still no generally accepted definition of industrial design, or design in general.
“One of the difficulties in understanding design is its versatility. There is no single way to define its essence in such a way that some other important aspects are not overlooked.
For example, industrial design can be seen as creating tangible offerings for the mutual benefit of both the user and the manufacturer; how to develop design solutions for a wide market by integrating aspects such as form, usability, technology and business into a single whole; as looking for a problem, giving meaning and developing something in a preferred direction; or as a combination of crafting, thinking, contextualizing, and presenting skills. Despite the lack of a single agreed upon definition, the profession is widely recognized, and all over the world industrial designers are members of professional associations.
This chapter on industrial design is divided into four parts. The first part gives a brief history of industrial design from the first industrial revolution to the present day. The second part explains the essence of industrial design as the integration of theory and practice. The third highlights theories of industrial design, such as Gibson's ecological theory of perception, now universally recognized and embedded in the design profession. The fourth and final part presents a set of design and design principles that summarize the views on the accumulated development and research experience.
1. A Brief History of Industrial Design
From a historical perspective, industrial design emerged in different ways in different regions.
1.1. Industrial Revolution in Britain
At the beginning of the first industrial revolution, mechanized production in Britain was still combined with individual craftsmanship and aimed at the continuity of social and economic structures, as can be seen from Wedgwood tableware and the development of railway locomotives. Nevertheless, the speed of technological change during the nineteenth century allowed manufacturers to achieve greater profits by increasing the production of goods for expanding markets with new customers. Manufacturers improved the degree and type of finish of their products in order to elevate the status of their customers. This led to the emergence of many new styles, such as modern (Art Nouveau) and neo-Gothic (Neo-Gothic). As a "counterweight" to the industrialization of production in the 1860s and 1870s, the Arts and Crafts art movement arose in England, led by the thinker and artist William Morris, and aimed at creating handicraft products that personified ancient ideals of craftsmanship.
1.2. Industrial Revolution in the USA
During the Great Exhibition held in Great Britain in 1851 in honor of the success of world industry (The Great Exhibition of the Works of Industry of All Nations - “The Great Exhibition of the Industrial Works of All Nations”), Europe became acquainted with American products and developments aimed at modern industrial mass production and functionalism. Over the next half century, the "American system" was characterized not only by manufacturing techniques, but by the whole organization of the business, which influenced business processes, as well as the functionality and appearance of products, resulting in new products such as Remington typewriters, sewing Singer machines, Kodak cameras, McCormick steam-powered threshers, and Ford cars. Due to rising labor costs and a shortage of cheap labor, the US focused on standardizing production. In the early years of the twentieth century, companies such as Ford produced relatively inexpensive cars that were the same set of standardized parts. The concepts of efficiency, standardization and functionality became leading in the industry of the early twentieth century.
In the early years of the twentieth century, companies such as Henry Ford produced relatively inexpensive cars that existed from assembled complex mechanical parts. Concepts such as efficiency, standardization, and functionality became popular in the early twentieth century.
Typewriter invented by Christopher Sholes, Carlos Glidden and Samuel Soule between 1868 and 1873 and released in 1874 by the E. Remington & Sons Co under the name "Schools and Glidden Typewriter" (Sholes and Glidden typewriter). The colorful floral embellishments may have been intended to make the device attractive to women, since it was the fair sex who predominantly worked as typists.
1.3. The birth of the industrial design profession
Although industrial design had a strong presence in the manufacturing industry by the end of the nineteenth century, the profession of industrial designer was still not properly defined, which meant that the activities of artists, architects, craftsmen, inventors, engineers, technicians, and other personnel of large companies were labeled Industrial design. It was only at the beginning of the twentieth century that the profession of industrial designer was “legalized” as a specialty integrating all these activities and including in their totality, for example, their technological, functional, aesthetic and business aspects.
1.4. Modernism
In Germany, the Deutscher Werkbund, a forerunner of the Bauhaus school of architecture, was founded in 1907 to integrate traditional crafts and industrial methods. mass production. This association gave Special attention the public role of design and art: it was believed that technology and machines could be used to improve people's taste and develop their cultural aspirations, such as social cohesion. The benefits of technology are no longer available only to the elite. The art movements that emerged from the turn of the century until the 1930s—Bauhaus, De Stijl, Constructivism, and Purism—came in favor of a new universal and objective style: the aesthetic of the machine. Celebrating machines and technological progress through objective forms, these creative schools aimed to improve the quality of life for all technology users. Modernism has reached its peak.
Starting in the 1960s, the German company Braun, together with its leading designer of the period, Dieter Rams, applied Bauhaus principles from the early years of the 20th century, such as "form follows function", to products. To optimally support functionality, Rams removed all unnecessary details and streamlined the main structural elements. He strove for neutral and harmonic aesthetic characteristics to allow the user to create their own "image" of the product. As Rams points out in his Ten Principles of Good Design, “Good design is about as little design as possible.”
The Frankfurt telephone, introduced in 1928 by Fuld & Co., is also known as the Bauhaus telephone. The body and phone of the phone were designed by Marcel Breuer and the rest by Richard Schadewell.
1.5. streamlining
At the same time, from the 1940s to the early 1960s, through the stylization of products based on visual symbols of progress - cars, aircraft, even space satellites - further "deification" of technology, progress and modernity was carried out. Streamlining, as a concept originally derived from the shape of a free-falling water drop, became "a way of expressing speed as a metaphor for energy that could free the user." It was the opposite of machine cleanliness - it took attention away from internal functions product for its appearance. American culturologist Thomas Hine coined the “synthetic” word “populuxe” in 1986 to refer to this era of popular luxury available to all.
An ashtray in the Populuxe aesthetic, produced around 1950, which not only served its utilitarian purpose but also rose to the level of a decorative art. It was designed by industrial designer Maurice Ascalon and manufactured by Pal-Bell.
1.6. Electronic Products
After the fifties, modernism disappeared in the West. There has been a rejection of rationalism, the use of science and technology to meet the needs and requirements of people of objectivity, universalism in favor of interchangeability and unbridled consumption. In the absence of unifying ideologies, design was lost in “pretty”. Designers were increasingly focusing on the packaging and appearance of the product. Innovation became more popular than invention, and the professions of design and engineering became more and more separated from each other, especially in the last decades of the twentieth century. Technology development has intensified; The physical size of microprocessors has been decreasing, and at the same time their capabilities have increased. The technological push has spurred the growth of the functionality of home appliances, offering users unlimited possibilities and a huge selection of electronic and digital products. Trends towards consumption and self-realization were intensifying, and the price gap between equipment and raw materials widened.
Industrial design missed this powerful industrial breakthrough; designers missed their turn to board the "electronic boat", more precisely, "interaction with the incomprehensible." The design of the physical form and the design of the interface of interactive products have been separated. Human-computer interaction (HCI) professionals such as usability engineers developed engineering and interactive thinking, and industrial designers were encouraged to decorate new machines. They did this by expressing energy, rationality, functionality, and self-interest. The products were based on "cognitive" interaction with displays and dozens of neatly arranged buttons, such as can be seen on microwave ovens, telephones, business equipment, medical equipment, computers, and photo and video equipment of the 1980s and 1990s.
1.7. To the side of emotions and impressions
In the 1980s, the postmodern movement Il Nuovo Design (it. "New Design"), including the companies Studio Alchymia and Memphis, criticized such ideas and approaches. Il Nuovo Design promoted concepts such as diversity, difference, eclecticism, ornamentation, color and impressions to create a more pleasant and whimsical world. The saying "less is more" has been replaced with "less is boring". At the turn of the century, a weakened version of these ideas was embodied in commercial products - such as kitchen appliances Alessi, the Swatch watch, and Apple's flamboyant iMac—and quickly became a superficial form of entertainment, i.e., "fun-looking" products in which, as we might say, "form follows frivolity" (compare with the Bauhaus principle "form follows behind the function). Around the same time, Bauhaus-style objects were made strictly for a select few, became frighteningly expensive, and were sold in "designer boutiques." The architects reproduced the interiors of the living rooms of German proletarians in elite apartments inside American skyscrapers. The design has become exclusive.
The transition to fun, emotions and experiences was also the result of socio-cultural attitudes and economic strategies used by companies to survive. They presented holistic "brand lifestyles" to compensate consumers for the loss of ideals, identities, belief systems, and cultural references that occurred after the decline of modernism.
By adopting the "signature lifestyle" of their choice, people have found a way to regain their lost sense of identity. Designers helped fuel consumption by repeatedly redesigning products, as exemplified by Swatch's market practice. Marketers and designers focused on brands and "brand identity", developing a complete package that covers the actual products and expendable materials, appearance, services, "experience", points of sale, advertisements, etc. - this is how Nespresso and Apple did it.
Designers have tried to imagine the future with new concepts such as Philips' Vision of the Future (1996), although many of these visions are based on well-known computer logic and cognitive structures.
"Hauntingly funny product": Swatch's Flik Flak Fifa watch for the 1982 FIFA World Cup held in Spain. The bottom of the bracelet reads "[Cartoon characters of the series] Looney Toons lead an active lifestyle!" and "Espana" (Spanish for "Spain"), the rest of the space contains images of Bugs Bunny, Daffy Duck and the Tasmanian Devil playing football.
1.8. Knowledge Economy
As we move into the twenty-first century, we are migrating from an experience economy to a knowledge economy. People no longer have to rely on brands and lifestyles associated with certain "branded" merchandise to signify and create their identity; instead, they are now able to express their identity through various social platforms such as Facebook and Twitter. We are becoming more and more "digital" and "networked", which is affecting the industrial design profession.
1.9. Reunion of HCI and industrial design
Today, we see that the two worlds of human-computer interaction (HCI) and industrial design are coming together again. HCI professionals tend towards experience design, while industrial designers use digital technology, although there are clear differences in the histories of both professions and therefore a difference in approach and focus. One can see many HCI experts and computer scientists striving to promote the unification of engineering and art, science and art, or three of these areas. human life, which can be seen in Robin Baker's Designing the Future (1993) or the work of Hiroshi Ishii in research projects Massachusetts Institute of Technology Media Laboratories (MIT Media Lab).
Moreover, the digital realm is the starting point for connecting to the real world, as happens, for example, in Ishii's interactive project Radical Atoms, and the cognitive approach to experience still dominates. In general, as a rule, the engineering paradigm in this way of working and thinking is based on knowledge borrowed from outside, the desire to change the world and the adoption of a "machine point of view", although the latter is increasingly combined with a "human perspective".
Industrial designers, on the other hand, tend to base their approach to work and thinking on internal knowledge(often called intuition), on the desire to change the world and accept the "human point of view". Modern industrial designers are trying to find a way to connect the possibilities of new technologies, intelligence and social platforms to people in the physical and social world - in order to link the discreteness of the digital sphere from the digital to the continuity of our existence in the world. Moreover, industrial designers are exploring their new role in the upcoming transformation of the economic paradigm, in which value is created by communities by solving local social problems together with the participation of all stakeholders.
1.10. Considerations for the above short history of industrial design
This brief introduction to industrial design may lead to the misconception that industrial design is only about beauty, especially since traditional design is taught in art schools (eg Design Academy Eindhoven, Design School CMU, Domus Academy). However, this is not so - from the very beginning, industrial design was involved in emancipation (social liberation) movements.
For example, the German Bauhaus school, active from 1919 to 1933, followed the socialist ideal of creating a "new man" by improving his environment. The slums were planned to be replaced by houses that allowed air and light to pass through; furniture for new dwellings had to be easy to make and cheap to buy, which could be achieved by using the latest technologies production. The same goes for cutlery and porcelain. Beauty was an integral part of this activity, but not its main goal. Industrial design gave direction to the development of culture. Beauty was defined in the context of transformation.
The reader may also have the misconception that all industrial designers are the same in their approaches and goals. While there are strong similarities in the education of industrial designers around the world, two distinct approaches have emerged in at least the last half century in design schools. In both cases, young students - as before - study at a design school for several years in order to master the profession. This is mostly done, literally, in the traditional master-bachelor model - terms that go back to the medieval tradition of learning a craft. "Master" (Master) own example teaches the future bachelor in studios and workshops. In conclusion, the student creates his own "masterpiece" as evidence of knowledge and skills.
Based on this MA-BA model, one approach emphasizes the artistic vocation of the designer and moves into conceptual thinking based on intuition. Another approach turns to science and tries to become scientific, based on rationalism. The problem, however, is that there are very few designers who are interested in science. They are already professionals: why should they bother with science? This is, of course, an overly general statement, but practice shows that it is often difficult for these two worlds to unite, although new design schools aimed at merging the two approaches mentioned have already arisen and are emerging at the present time - such is, for example, the Faculty of Industrial Design of the Technical University Eindhoven University of Technology in the Netherlands.
In the remainder of this section, we will briefly describe the value of integrating design theory and practice for the industrial design profession. We will explain several theories of psychology, philosophy and learning that have entered the design profession. We will end this post with a list of principles relating to industrial/interactive/intelligent design based on the theories mentioned and illustrate these principles with several projects.
2. The essence of industrial design: the integration of theory and practice
Recognized authority on HCI Kees Overbeeke, professor at the Faculty of Industrial Design at the Technical University of Eindhoven - a bright representative of the scientific approach, the design profession has never been trained, recalls:
“My first contact with design taught me a lot. The designer asked me: “Do you see this line in the car?” I just asked, "Which line?" For me, a line is what you draw with a pen on a surface. Therefore, there was no line on the car.”
As this story makes clear, it can be difficult for someone from academia to understand the mentality of industrial designers. One of the reasons this type of thinking is difficult for the uninitiated to understand is that industrial design is essentially about integration.
2.1. Integration
Let's use an analogy to clarify what is meant by integration. Let's take medicine. Medicine is the integration of knowledge from several well-established scientific disciplines into practice. But no M.D. is an expert in any of these related sciences. A family doctor must know a lot, but in essence he learns his profession by practicing it. He, based on his knowledge and experience, must gain a sense of what might be "wrong" with the patient and act accordingly. The same can be said about the designer. He must be aware of materials, beauty, people, culture, business, new technologies, etc. and act accordingly. Again, the designer is not an expert in any of these areas, but knows how to combine them to create new possibilities.
However, there is one significant difference. The doctor tries to restore the patient's previous condition in order to make the patient better. The designer creates something new that does not yet exist, and thereby seeks to create better world. This is an important distinction, because the designer - per se - is not a "problem solver". Designers don't usually solve problems; they go one step further and create a new reality for people to explore. The designer as “a person who solves problems” is a popular misconception.
2.2. Knowledge suitable for practical application
Now consider the question: what contribution can science make to the industrial design profession? In the modern world, there is a tendency to "academization" of all professions. This is very good. Medicine really moved forward after the scientific study of disease began. The academic knowledge acquired and accumulated by medical research centers is the direct reason why most of the readers of this text are alive today. At the same time, the family doctor as a specialist has not lost its significance, and his knowledge, based on experience and intuition, has not depreciated at all.
Thus, the task of academic scientists is to create a way to provide the practitioner with knowledge that he can effectively use in his professional activity as a designer. At first glance, there seems to be no single correct or accepted way to do this, but an international group of theoretical scientists led by Kes Overbeeke have been enthusiastically trying to find such a method for the past 25 years. They believe that the criterion for success for people working on the research side of industrial design, i.e. scientists, should be relevant from the point of view of professionals(in contrast to the adequacy criteria for the academic environment).
Such validity criteria could be, for example, conscientious responses to the questions “How many designers use your methods?” or “How many products using your ideas are available on the market?” Overbike and his colleagues do not insist that they have all the right answers or that their approaches to evaluating the theoretical side of design are the only possible ones. However, they have experience in the practical work and research of design as a discipline, which for them is the essence of industrial design: the integration of theory and practice.
3. Theoretical foundations of industrial design
Research cannot progress unless it "stands on the shoulders of giants." When a group of scientists led by Professor Overbeeke began their R&D almost a quarter of a century ago, their goal was to regain control over product design as a whole, its context, and how it enriched the lives of users, seen as both individuals and individuals. , and social beings. In search of basic principles to unify their activities, they found 2 theoretical design foundations rooted in philosophy and psychology, as well as several closely related theories, which inspired scientists to further develop the field of industrial design. In the third part of the article, we will get acquainted with the philosophical and psychological foundations of design.
3.1. Phenomenology, pragmatism and embodied interaction
The need for a philosophical foundation for (interactive) design was masterfully argued by Paul Dourish in his 2001 sweeping work Where the Action Is: The Foundations of Embodied Interaction, drawn from the European philosophical tradition. Since we are not philosophers, we will be brief here. There is a long dualistic philosophical tradition in the West that theorizes on the basis of the opposition object and subject. The most famous example is Descartes' ontology: "Je pense, donc je suis" ("I think, therefore I am"). Phenomenologists in Europe (for example, Maurice Merleau-Ponty) and pragmatists in the United States (for example, John Dewey) reacted to this dualism in the first half of the last century. Dualism seems to imply that the transcendent "mind" transcends the body, which somehow acts to do the bidding of the mind. Merleau-Ponty proceeded from the fact that we have a living (in the empirical sense) and existing body. We don't need to prove that we exist. We cannot escape this fact. The body takes precedence: this is how we live in the world.
Or, as Merleau-Ponty puts it, “Être au monde” (“To be in the world”), which means not only to be in the world, but also to belong to it, to have a relationship with it, to interact with it, to perceive it in all dimensions. Perception is an activity, and our body and skills are an integral part of our perception. We perceive the world in terms of what we can do with it, and by physically interacting with it, we gain access to these meanings and the ability to express them. Perception through action precedes cognition: reflection (reflection) is a consequence of action. Moreover, we do not perceive ourselves as just another object in the world: we perceive ourselves as the point of view from which we perceive other objects (Merleau-Ponty, Phenomenology of Perception, 1958).
The fact that the body has an integral part of the world, and that bodily perception (experience) precedes our reflective abilities (thinking), is ignored or even forgotten in most philosophical schools. This is why phenomenologists and pragmatists emphasize the embodied origin of knowledge, that is, as reflection following action. The American philosopher, professor of urban studies Donald Schön has shown that this concept of “Reflections In action and reflections about action» (Reflection-in-action and reflection-on-action) is the basis of design practice.
Theories such as the concept added interaction(Embodied Interaction), coined by Paul Dorish, and related areas like "tangible interaction" (Tangible Interaction), made the philosophical schools of phenomenology and pragmatism popular in the field of interaction design. But as soon as these theories became the property of a wide group of designers and specialists in human -computer interaction, the subtlety and strength of the theoretical justifications of Merleau-Ponty and Dewey were greatly blurred, as in the case of the concept of "" (Affordance, English "opportunities" - the properties of an object or environment that make it possible to produce with this object or fragment of the environment those or other actions), which we will focus on in the next section.
3.2. Theory of ecological perception
The theory of perception in psychology has always been a special area of research: in it, ultimately, we are talking about meanings, about the meanings of the surrounding world. This area is actively intertwined with design, for example, through the influence of Gestalt theory on the Bauhaus design school; due to the presence of the theory of mentalism in it and the cognitive approach to perception, it is also closely related to human-computer interaction.
One particular theory of perception, closely related to phenomenology, is of great importance for design. Gibson's theory of perception (James Jerome Gibson - one of the most famous American cognitive psychologists) seems to be the most important natural ally of designers, since it is a purely functional theory. Gibson is not only interested in how we perceive, but at the same time, what we perceive. He claims that we perceive the world as essentially meaningful because we "fit" the world through our ability to act. We perceive the world in terms of what we can do with it, that is, in terms of what our bodies can do.
The functionality of the world is manifested through the manipulation of the world in interaction. This theory is useful for designers in that it returns values to the action level. And designers love it - it's very difficult to design an interface for abstract values.
Two important concepts in Gibson's ecological theory of perception are affordance and feasibility. The most essential concept of his theory is that we perceive the world in terms of what we can do with it. A person can perceive the surface as "walkable" (walkable, "suitable for walking") (this affordance) because it has feet and legs that can move (feasibility). For the fly, the "walkable" surface will be the ceiling, because the fly has a different feasibility, that is, a different body. Similarly, a skater can perceive a surface or object as "jumpable" if they have the right body, skills, speed, and courage.
The considered approach and, more specifically, the term affordance was introduced into the field of design by Donald Norman in 1988. This move has wide-ranging implications because it's now about what designers can design. actions.
However, Professor Overbeeke warns: “We do not agree with the fallacy and simplification that affordance is a physical characteristic of an object or environment. We share the view that the brilliance of Gibson's theory lies in the proclamation of the unity of subject and object, which naturally includes intentions and every action that a particular organism can perform.
Overbeeke and his colleagues also disagree with the mechanistic interpretation of the Affordance concept that is sometimes encountered. Here is what they said about it in 2000:
“We deplore this clinical interpretation of affordance. People are not encouraged to act just because the design matches their physical characteristics. They can also be drawn into action—even with irresistible force—by anticipating the beauty of the interaction.”
3.3. Craftsmanship, meaningful practice and constructivist learning
There are many design concepts associated with phenomenology, pragmatism, and ecological perception theory, some of which we will briefly review in this section.
At the crossroads of design and phenomenology is the concept handicraft. The eminent contemporary sociologist Richard Sennett reveals this phenomenon in his book The Craftsman (2008), which provides a theoretical background and understanding of the core of design professions, including a constructive attitude and approach as a necessary condition for mastering this specialty. . In short, design is the desire to have Good work for her own sake. It is about trusting your feelings, intuition, creativity, curiosity, imagination and skills (synthesize and concretize) and the ability to think “both ways”, that is, analyze and abstract. Design is localization (creating a particular question), doubting (thinking about its quality), and revealing (expanding its meaning), and designers prefer ambiguity, uncertainty, openness, complexity, resistance, and they dare to fail. According to Sennett, "it's a calling and an obsession." Or you can say that designing is a way of life.
As far as learning theories are concerned, Professor Overbeeke, as a practicing lecturer in the Faculty of Industrial Design, believes that designers grow and develop according to the following pattern: balance - loss of balance - newfound balance, that is, the student moves from one stable state to another through a phase of disequilibrium, which is often the same chaos through which a person achieves order. Disequilibrium is the driving force behind behavior change and development. Reflection and action are essential elements for restoring order, as they can change the way you see the world and deal with its challenges.
This approach is consistent with the reflective practice of Donald Sean and the pragmatism of Dewey, based on the ability of professionals to recognize, reflect and learn through action; learn by doing something and, through the process of thinking about it, gain understanding from experience (quoted by Sean, Donald A., The Reflective Practitioner: How Professionals Think In Action, 1983 .).
So, quite simply, learning to design comes down to this: get down to business without fear of getting your hands dirty, and learn from experience. The overall design is based on first person view with a rare shift to a third-person perspective. Therefore, designers must trust their intuition, use their common sense, and have the courage to make mistakes, or, as Sean says, by taking the path of gaining experience without prejudice and responding to surprises through reflection, we can learn from our own actions. Merleau-Ponty argued similarly in his 1962 Phenomenology of Perception: An Introduction: Perception through action precedes cognition—thinking is the consequence of activity.
Due to the strong emphasis on learning by doing and action analysis in the field of design, a constructivist perspective on the learning process emerges. Individual or cognitive variants of the constructivist paradigm suggest that the locus of knowledge construction is in the individual learner; social or situational variants suggest that this locus is located in socially organized networks. At the same time, there is a concept common to both points of view - this is activity: the student creates meaning, being influenced by his sociocultural environment and comprehending it. Constructivism is about learning and performing specific tasks through hands-on activities; that is, learning by doing while acquiring theoretical skills and knowledge. Design education programs based on constructivism use the practical skills of the designer - as well as his analytical skills - to gain knowledge. This is the unity of theory and practice, where experience plays a decisive role.
Design schools that use an approach that emphasizes artistic vocation and conceptual thinking based on "intuition" are broadly consistent with the constructivist learning paradigm. Most of the schools of design that have gone “to the side of science” have turned away from the constructivist approach, although you can see a new, third trend - independent, continuous and based on competence. It is followed, for example, at the Faculty of Industrial Design at the Technical University of Eindhoven.
3.4. Pragmatic and Interaction Aesthetics
We conclude our discussion of the theoretical underpinnings of industrial design with aesthetics, which have always been a core element of design, especially in the aesthetic aspects of the artifacts themselves (here artifact any artificial object). However, due to the accelerating development of interactive products, the aesthetics of interactive systems have shown a growing interest in the aesthetics of artifacts themselves. These two approaches to design aesthetics reflect the distinction between pragmatic aesthetics and analytical aesthetics, respectively, proclaimed by the American pragmatic philosopher, known for his contributions to aesthetics as a philosophical discipline, Richard Shusterman.
From an analytical point of view, aesthetics emerge as a property of a product. Aesthetics is at the center of the design process here. appearance, creating artifacts that are attractive and enjoyable to use. On the other hand, the pragmatic approach is related to the aesthetics of use. According to this view, the aesthetic of an artifact emerges from the dynamic interaction between the user and interactive system, which leads to what is called "aesthetic interaction" or "resonant interaction" (resonant interaction). Within the framework of the pragmatic aesthetic approach, various directions can be distinguished, such as narrative aesthetics (aesthetics of narrative), aesthetics of actions (aesthetics of actions), computational aesthetics (computational aesthetics) and semantics of movement of products (semantics of movement of products).
Currently, the pragmatic aesthetics, focusing on experience, is gaining strength, moving together with designers towards the digital community and the field of human-computer interaction.
There is a sphere of artistic and technical activity, the purpose of which is to determine the formal characteristics of industrial products - this is industrial design. This industry plays an important role in the structure of global manufacturing companies engaged in the manufacture of cars, household appliances, communication devices and other consumer products.
Historical information
The first specialists in the field of industrial technology and design appeared in Great Britain in the 13th century. At that time, the production of fabrics was actively developing. As for the definition itself decoration, it was first mentioned in 1919. The founder of the school was a German architect.
Industrial design began to really develop in the second half of the 20th century, when a special board was organized in the USA, the members of which formed a clear definition of this direction. According to them, this is a creative activity, pursuing the goal of improving the external data of produced objects.
Development Basics
Since industrial design is an activity that combines arts and technology, the scope of the consumer sphere is very wide. Developments are underway not only for high-tech products, but also for various knick-knacks. Intellectual property in this area can be protected by obtaining a patent for a particular product.
The development process in this case is divided into certain stages:
- search for an idea;
- choice of concept;
- creating sketches;
- modeling in three-dimensional editors;
- object visualization;
- model construction;
- prototype implementation.
Designers themselves usually have education in engineering, mechanics and visual arts. Many modern specialists graduate from specialized industrial design universities. They are not involved in the creation of drawings, are not responsible for the functioning of inventions. Their task is to optimize the product.
Innovation Strategies with Examples
In any industry, there should be planning for overall development. This is achieved through the introduction of special strategies that determine the future path for and even decades. Industrial design in this case is of particular importance. In this regard, it is necessary to consider the general trends of progress in the sectoral industry with examples.
In a living space, not one, but several devices are usually used that can interact with each other. Therefore, in the production of household appliances, products are not designed separately. The combined approach is often referred to as the socio-technical approach.
It was industrial design that played a significant role in the development of the aircraft industry. This is expressed in the fact that a modern aircraft is capable of performing not only its direct function - transport, but also entertainment. On board airliners, you can now use various means of communication, chat, eat and do much more. When developing, these nuances cannot be ignored.
In the automotive industry, special emphasis is placed on vehicle maintenance. This trend is clearly seen in the construction of educational and entertainment centers in close proximity to various services. Modern manufacturers are trying to introduce their product directly into residential infrastructure.
Successful solutions in the field of design innovation are primarily associated with scientific research enabling the development of the industry as a whole. However, today there is some disparity. Often there is no relationship between the specialists of the two areas.
Priority types of industrial design
It was said above that there are a huge number of devices and devices that perform various functions, so they must be classified according to their purpose. A specialist cannot perform his work qualitatively directly in all areas. The main categories are presented in the table.
Specialization | Description |
Engineering equipment | This group should include devices that are used for scientific research, construction work and special studies. |
medical devices | |
Vehicles | All can be included here existing species transport. A huge role in the development of this category is played by pressure from environmentalists. |
Appliances | Household appliances should not only perform the main function, but also have attractive appearance. Items should fit well into the overall interior. |
Interior and exterior elements | Home and office furniture should look organic, so there is separate direction in the field of industrial developments. |
Benefit for the consumer
All the work of a specialist of the University of Industrial Technology and Design is aimed at the end customer. This has some benefits for the consumer environment. There are several main tasks that can be solved thanks to industrial design:
- comfortable use in various conditions;
- convenient service;
- suitable external data corresponding to fashion trends;
- optimal possibilities in terms of functionality.
The developments of specialists make it possible to determine main reason the success of a particular product. In most cases, the average consumer buys a product that looks good, is easy to use, and is of relatively high quality.
Role in Product Development
Manufacturers used to think about design solutions last. The priority was developed technology, not style and ergonomics. Modern companies, due to high competition, are forced to use additional opportunities in order to take their rightful place in the market.
The result of the successful work of a specialist in creating a product is directly the attractiveness of the product, as well as the satisfaction of the end user. Industrial design is a big investment in product development. However, the investment is repaid through a price premium for each unit of the product produced or through the calculation of the final profit taking into account increased demand.
As for the costs, they consist not only of the cost of the services of specialists. Funds are additionally spent on the implementation of the main elements of the object, as well as on certain studies during long-term development.
The largest educational institution in Russia
St. Petersburg University of Industrial Design will help you learn a useful and highly paid profession. On the territory of Russia, it is the largest. The educational institution is a multi-level complex. It includes higher schools, educational centers, research institutes and colleges, preparatory faculties.
Petersburg University of Industrial Technologies and Design currently implements more than two hundred educational programs, which are attended by more than 15 thousand students. Training is carried out in various forms of education. There is a correspondence system for obtaining knowledge using distance technologies.
As a conclusion
To create a sketch, industrial designers must engage not only in analytical and artistic activities, but also be able to use modern graphic programs. They allow you to bring concepts to life as efficiently as possible. In fact, there are a lot of applications, but it is recommended to choose those that are popular among developers.
More than a year ago, we published on Habré about industrial design for electronics: what it is, how to design a case for a device and evaluate the results. This time we want to explore the topic in more depth, both from the point of view of our development team, and from the point of view of the economics / marketing of the project for the customer.
Under the cut, we will talk about the goals and objectives of industrial design, its role in the development of new products, and also touch on the issue of return on investment in industrial design.
The Purpose of Industrial Design in Product Development
To understand the role of industrial design in creating a product, first of all, you need to answer the question: why do manufacturers need design and what tasks can it solve? There are many scientific and "mundane" definitions of the purpose of industrial design, but they all agree that the design serves to determine the formal qualities of industrially produced products, such as appearance, structural and functional features, etc. More succinctly, the purpose of industrial design was formulated by Thomas Maldonado ( Fellow of the US College of Industrial Design): to improve the appearance of objects produced in industry. Despite the prescription of this definition (1969), it is still relevant.
Example #1. Lapka - a set of sensors for Apple iPhone: nitrate meter, radiometer, electromagnetic fields and humidity meters. In this project, an important role was assigned to the appearance of the device. As a rule, measuring instruments do not have an attractive design. Lapka was an exception to traditional devices, attracting new customers and successfully entering the consumer electronics market. Today, these mobile gadgets are sold in the US, Canada and Russia. We dedicated to this project last year.
Importance of industrial design for the consumer
The commercial success of any product largely depends on their design.Let's highlight five tasks that industrial design is designed to solve:
1. Ease of use of the product. First of all, this is due to the user interface, which should be safe, as simple and intuitive as possible - already by its appearance it should inform the user about its purpose.
Practicality of use can be extremely important, both for simple products and for products with a large number types of interaction - and the more complex the device in this regard, the more the product depends on industrial design. Moreover, the designer must understand the essence of all possible types of interaction, because each of them may require a separate design approach.
2. Serviceability. This parameter is extremely important for products that need frequent maintenance or repair. Product details should carry information about the procedures required for maintenance, although ideally it is better to aim for the complete elimination of the need for maintenance.
3. external qualities of the product. An attractive product is associated with high fashion and image, and, moreover, is able to make consumers proud of owning it (this is one of the main goals that a designer should strive for in his work). Also, industrial design contributes to the visual differentiation of the product, this is especially important for products with a stable market and technology.
4. Brand work. Product design should communicate the philosophy and mission of the company to the consumer. Attitude towards the brand, sympathy for the image of the product of this manufacturer serve as a kind of conditional constant for the consumer in choosing a product.
5. Reduced equipment and production costs. Functional features, materials used and other factors significantly affect the cost of producing a product, i.e. to its cost. Poor product design, redundant features, or the use of exotic materials affect processing, assembly, and so on. With the right choice of material, consideration of environmental and other factors, industrial design can save a lot of costly investment in the creation of a new product.
Example #2. Already known to you from the digital IPTV set-top box SML-282 Base by SmartLabs. The well-thought-out design of the case of this device made it possible to provide the necessary heat transfer parameters (without visible perforation of the upper and side surfaces of the device). Due to this, active cooling is not used in the hardware platform of the set-top box. So with the help of design, it was possible to optimize the costs of production and maintenance without compromising the external qualities of the product.
Industrial design plays an important role in determining the key success factors for a new product, as the average customer will purchase a product that is attractive in appearance, easy to use, and of relatively high quality.
And although domestic manufacturers may be fully aware of the role of industrial design in creating a product, however, a clear understanding of the place of design in the development process, unfortunately, is not always present.
The place and role of industrial design in the product development process
Historically, manufacturers in the post-Soviet space thought about design last, because. their designs were based on technology, with no focus on ergonomics or style. Today, due to fierce competition, it is unlikely that any company will be able to achieve significant competitive advantages only through technology.However, even in those domestic companies that have realized the role of industrial design, the designers themselves are often involved in product development only at the final stages of the process. Work structured in this way does not give the best results in most cases, so it is important to take a conscious approach to using design in the development of new devices.
Much depends on the direction of the product. Conventionally, the design approach can be defined as "user-oriented" and "technology-oriented". If in the first case the main benefit from using the product is associated, for example, with the functionality of the interface or with the external aesthetic appeal, then in the second case technologies are the priority, i.e. the ability of a product to perform a specific technical task.
Let's consider everything in order:
1. For a user-focused product appearance plays an important role in its differentiation (distinction from similar products of competing companies). The product itself can be technically complex, but due to a certain technology, the issue of interaction between the product and the user becomes a priority here. Ready-to-use mass consumer electronics can serve as an example of such products.
In this case, the work of a designer is appropriate at the beginning of product development, since already at an early stage the designer can help with a number of issues:
- Marketing: assistance in identifying needs, field testing of concepts, conducting market research, etc.
- Ergonomics of the device: development of the general concept of the device together with engineers, and not under their dictation.
- Defining the user interface: For example, a designer might justify the need for two buttons on a device instead of five as suggested by the engineers.
Example #3. Portable dosimeter-radiometer "DO-RA" of JSC "Eurasia Intersoft". This miniature sensor connects to various mobile devices, uses their energy resources, and the measurement results are displayed in the interface of a special program for Android or iOS. The project designers managed to change the usual view of the radiation measuring device and create a completely new product aimed at a wide audience of potential consumers. The development customer has submitted an application to the Guinness Book of Records for recognition of "DO-RA" as the smallest universal dosimeter in the world.
2. For products with a focus on technology the priority issues are technical requirements for devices, engineering solutions. Despite the fact that such products may also have serious ergonomic requirements, the need to comply with certain external aesthetic standards, etc., the consumer purchases them according to the criterion of technical parameters. So, for example, it doesn't really matter what the battery looks like in the player - the main thing is that it allows the user to listen to music for a long time. Examples of such a product are shock absorbers for a car, batteries, a hard drive for a computer, etc.
For this type of product, the designer's work may begin at a later stage of development, since here design issues are mainly related to external design.
Example #4. The portable car recorder ("black box" for cars) was developed by order of an American company as a technology-oriented product. It is installed in a standard OBD-II connector of a car and captures dozens of different parameters (the technical capabilities of the device can be viewed in our portfolio). In this case, the team of designers and constructors solved an interesting technical problem - they developed a mechanism to block the device from turning off. The fact is that the design of the OBD-II connector does not imply the use of locks, it is designed so that the user can freely connect and disconnect the necessary devices. To create a locking mechanism, it was decided to use an element of the standard design of the OBD-II connector - a metal strip (see photo + diagrams). Jamming of the fixing element (strip) occurs due to the rotation of a special key. This version of the lock is easy to manufacture, because. it does not need a mold, the whole mechanism is machined on the machine. Designers got involved at a later stage of development, but were able to ensure that the technical requirements for the device were met.
The manufacturer is already initial stages development should determine the expected expectations of the consumer (target audience) and be able to express these expectations in your product. And it is industrial design, in the first place, designed to solve this problem.
As practice shows, our manufacturers have mastered these rules, but have not fully understood how to use them - there is some mixing or even imposition of old school ideas on the new market laws. Let us explain with an example how this happens: the designer is connected to the development process only at the last stage and put before the finished result of the work of engineers: the device must, for example, be rectangular, the interfaces are displayed here and here (where it was convenient for the designers to display them, and not where it will be more convenient to use them), etc.
Example number 5. Automotive GPS/GLONASS navigation and communication device is an example of well-coordinated teamwork of designers and constructors (description of development). Thanks to the coordination of all stages of the design of the device, high density the layout of all electronic components, which made it possible to develop the thinnest navigator case with thoughtful placement of controls and connectors. At the same time, strength was ensured by an aluminum alloy chassis (see the explosion diagram of this device at the beginning of the article).
The question of return on investment in industrial design
To answer this question, we compare the costs of industrial design and the benefits derived from it. Such costs include:- directly the cost of services of industrial designers;
- costs for the implementation of product elements that are the result of the work of designers;
- costs associated with a possible increase in product development time - for example, designers need to do a lot of additional work to determine the ergonomic qualities of a product, etc.
- investments in design lead to a price premium per unit of product (a simple principle applies here: an attractive product is evaluated by the buyer as more expensive and, accordingly, the consumer is willing to pay more) and then it is possible to determine the overall economic effect for a given predicted sales volume;
- investment in design leads to an increase in demand for the product, which allows you to calculate the profit at a given unit price of the product.
* All projects described in this article were completed by the team
complex in industrial design
Industrial Design- view industrial design, professional service for the creation and development of product concepts and specifications that optimize the appearance of products, their function and cost.
Main quality industrial design objects:
1. Aesthetics (appearance).
2.Functionality (structural alignment; ergonomics; ease of transportation and storage, etc.).
3.Affordability for the price.
Industrial design development services are often provided as part of the cooperation of some companies. Typical groups include management, marketing, engineering and manufacturing professionals.
Efficient optimization of product appearance, function and cost.
User (consumer) + industrial designer (developer, designer) + producer (manufacturer).
The industrial designer must gather together all the information received, analyze it and translate into a new product all the relevant design criteria determined by the group.
Industrial design includes art, marketing and technology elements. Industrial design allows you to design: tools; household utensils and appliances; furniture and interior elements (dishes, cutlery); transport, car; mechanisms.
The standard industrial design development is divided into the following stages:
collection of material (at this stage, the industrial designer searches for similar products, analyzes their shortcomings or vice versa advantages);
idea generation;
choice of concept (based on the previous stage, the industrial designer determines the direction in which it is worth starting the development of an industrial design of a new product) - conceptual study of the idea;
sketching (an industrial designer generates several design options);
3D modeling- building a 3D model (according to the approved design option, an industrial designer builds a 3D model of the product);
visualization of the product, layout in the project, design approval;
construction;
prototyping (a necessary stage, a prototype allows you to see the resulting product even before the release of a series of products).
Also distinguished are the following basic design operations in industrial design, Let's look at them in more detail:
Research and analysis carried out both for the project as a whole and for its individual components. Monitoring existing products, including those in related areas, looking for errors from other manufacturers, and identifying consumer preferences is an integral part of the job of an industrial designer. It is this stage that allows you to protect the customer from repeating his own and other people's mistakes, to optimize further work as much as possible.
Sketching allows you to present several ideas for solving the problem. At this stage, a full-fledged design is not created, but its understandable concept is proposed using one of the visualization tools (for example, a pencil sketch or a computer model). So the customer has the opportunity to choose the best one from several proposed options or make their own adjustments at an early stage of the project, having an idea of the direction in which the work is going.
Technical task created for any project - from a plastic soap dish to complex medical equipment. This document collects all the data on the product being developed: describes the product itself, its design and characteristics; the requirements of the customer for the design, protection and safety of the product, as well as his wishes for production technologies are noted; researches of the market of competitive goods are given. The purpose of this document is to give a "starting point" for all project participants and to provide a clear understanding of the result expected by the customer.
3d modeling and visualization provides a more detailed drawing of the created sketch. After choosing a general concept, work begins on the details, for example, placing the necessary electronic filling in the case, working out the dimensions. The results of this stage of work are presented in the form of a presentation, which allows the customer to more fully evaluate the idea being implemented.
Mock-up and prototyping brings abstract design closer to real life. Despite the powerful modern visualization tools, so far only layouts and prototypes allow you to get to know the developed ergonomics better. Although mock-ups and full-sized prototypes are only simplified versions of the proposed idea, they can be used to “feel the idea with your hands”, protecting yourself from possible errors.
Design and documentation necessary when it comes to a project for production. At the request of the customer, a mathematically accurate model of the product is created, taking into account the characteristics of the materials used and production constraints, and also provides a complete package of necessary documents for transferring the product to any plant or factory.
Sample production in demand when it comes to preliminary testing of products by the target audience before launching into production of large and expensive runs. With large production costs, multiple sample copies created using micro-batch production technology will not significantly increase the overall cost of the project, but will serve as another verification stage for the developed design and ergonomics.
Author's supervision allows you to avoid changing certain properties or characteristics of the product at the production stage. Unfortunately, we have to deal with situations when in production, to simplify the task, adjustments are made to the developed project, and as a result, the released product, on which so much effort and money was spent, loses its competitiveness. Architectural supervision helps to exclude the possibility of this unpleasant situation.
Contractors provide a solution to the widest range of tasks, including those that are not standard for our industry, such as microscale production of samples, rapid prototyping, development and production of packaging, etc.
In addition to the implementation of individual items in industrial design, there is a concept "multipart composition" consisting of several parts. Consider a few of them.
Series-cycle - a group of objects or mono-compositions, united by a design method, a form of solving an artistic image. Monoseries - a set of design objects arranged in a fixed sequence, in a given quantity, in order to capture, for example, the process of change, ordering, movement, growth, direction of the form and other processes of its change after a certain time (in graphic design - serial texts). The consignment - the composition of mass-produced products put on the "stream". Ensemble - mutual coherence of parts, each of which is an independent whole.
industrial designer is a specialist who studies ready-made market samples and creates a high-quality prototype. The profession is suitable for those who are interested in drawing and drafting (see the choice of profession for interest in school subjects).
He does not develop innovative products, is not responsible for the quality of designs, but improves the items that we use every day.
Short description
Representatives of this profession must be distinguished by mathematical thinking and have creativity to work. After all, this specialty combines 3 popular areas at once:
- marketing;
- art and design;
- modern technologies.
The direction combines science and creativity, therefore, to master this profession, you need to get a higher education.
Features of the profession
In higher education institutions and in educational courses, future industrial designers are taught how to create more convenient, beautiful, practical and safe things. Most often, these specialists choose for themselves one or more similar areas, although you can work with different subjects if you have the time and desire to learn.
Direct industrial modeling consists of several stages:
- discussion of the project with the customer;
- careful study of existing products and all available information about them (3D models, technical documentation, drawings);
- development of the concept and its transfer to the sketch format;
- after that, the specialist must select the necessary materials and technologies to create the product;
- creation of a 3D model;
- if the customer approves the model, then the process of prototyping and testing begins;
- in the absence of problems, refinement, re-testing and launch of the improved product / service into production are carried out.
During these processes, the industrial designer works closely with the engineers, marketers, chemists, biologists, and other professionals who are involved in the project.
The main goal of the work is to create an improved product that will enjoy consumer interest. It must also be functional, safe and cost-effective.
Pros and cons of the profession
pros
- Industrial design is one of the highest paying industries in this segment.
- The work is difficult, but quite interesting.
- Career prospects.
- Specialists of this profession are in demand both in Russia and abroad.
- You can get an education in any region of the Russian Federation.
- A representative of the profession examines already finished products, so he only needs to improve them.
- You can work remotely or in the office, which makes the profession more attractive.
Minuses
- The work is nervous, and the specialist is tied to the requirements of the customer and the market.
- The work can take a lot of time, because the customer sets a deadline, and if the designer does not have time, then he will have to work day and night.
- In small towns, it is difficult for a specialist of this profile to find a job.
- It is necessary to work a lot at the computer, which can adversely affect the state of health, in particular vision.
- You need to constantly improve your knowledge by studying different areas (design, materials science, marketing, and others).
Personal qualities
- Creativity and mathematical mindset.
- A penchant for analysis.
- Knowledge of foreign language.
- The desire to understand the intricacies of the goods, not losing sight of the little things.
- Teamwork skills.
- Ability to hear and analyze the ideas and comments of colleagues.
- The desire to create something new.
- Minimum knowledge of the field of activity of accountants, because representatives of this profession may be required to draw up an estimate and develop a project within a strict budget.
Industrial designer training
Representatives of this profession should be trained throughout their lives, but it is worth starting with higher education in a specialized educational institution (specialty code 54.03.01). The competition is quite large, for admission, the results of the Unified State Examination in general subjects are required. At the time of admission, you will need to submit additional exam in the Russian language, social studies and a creative competition, for example, it can be a drawing or a composition. Admission requirements depend on the institution of higher education. Form of study: full-time.
On this course, you can get the profession of an industrial designer remotely in 1-3 months. Diploma of professional retraining of the standard established by the state. Completely distance learning. The largest educational institution of additional prof. education in Russia.
Place of work
A professional industrial designer will find work in any enterprise that creates products - these are factories for the production of clothing, furniture, dishes and others. Also, representatives of the profession are in demand in companies that specialize in the development and creation of websites, mobile applications and other types of software.
Salary
Salary as of 03/26/2019
Russia 20000—80000 ₽
Moscow 45000—100000 ₽
An industrial designer can officially find a job in a public or private company, and he can also look for customers in the domestic and foreign markets, working as a freelancer. The salary of a specialist depends on his experience and the direction he has chosen (equipment, products for domestic use, household chemicals and others).
Career
A specialist can get his first experience while working as a freelancer, at the same time he must prepare his own portfolio. After 1-1.5 years, the designer can apply for a solid position and official employment.
This is one of the most successful areas of design, because representatives of the profession can count on career. After just a few years of fruitful and high-quality work, an industrial designer can lead a department, take the position of creative director, which will positively affect his salary.
Also, designers working in this direction can give lessons and advice, which can be the first step towards creating your own school.
Professional knowledge
A specialist should be able to draw well, using both a regular pencil and modern programs for 3D visualization and design:
- Solid Edge;
- Pro/Engineer and others.
Also, the designer must know everything about computer modeling, types of materials, packaging features of different product groups. The ability to make an estimate, correct the mistakes of other team members and study technical documentation in a foreign language is important.
Famous people are professions
- Victor Papanek.
- Karim Rashid.
- Maarten van Severen.
- Michael Thonet.
- Eero Aarnio.