Plato: Jim, do you think the end of the world will come at nighttime? Jim: Mm, no. At dawn.
James Dean and Sal Mineo in “Rebels Without A Cause”, 1955
It is a chilly late morning this spring in Berlin. Fitting to the temperature, a skier runs skis made from cardboard in a circular groove on a metal plate, around and around. Running in circles. The exhibit, called “Your personal career” is telling for a view of design as it was on display at the Designmai 2006 design show in Berlin.
Most exhibits are made in cardboard or plywood, taped or tacked, early process mock-ups rather than fully developed models. That reflects on the city, fragmented and patched as Berlin has been through history, it reflects on design as a process, on the budget of the exhibitors, and it reflects on a particular situation of contemporary design.
What if your sketches would evolve and start their own life with algorithms inspired by biology?
Big Data. Most people have not seen it – Big Data are not public. But each of us is permanently producing it.
Since the first introduction of CAD and 3d modeling systems, code is behind most products. With generative design, the code becomes the design itself. Big data about user behaviour in combination with machine learning and adaptive production methods (Industry 4.0) will make highly personalized and adaptive design solutions the new normal. To master code, designers should be able to write it.
With the Internet of Things, the division between interaction design and industrial design is about to disappear. A designer should know how to code, prototype, and build intelligent products with embedded applications. Starting points are the Raspberry Pi, Arduino or Nanode.
Global economic, technological, social and environmental issues are getting increasingly intertwined. There are no simple solutions to complex problems. The ability to navigate complexity will be a key skill for the designer of the future.
In a world of limited resources, knowledge of recycling technologies, biodegradable materials, and the ability to design for a circular economy – by considering disassembly and recycling already during the design process – becomes increasingly important. Designers should be able not only to conceive new products, but to plan the way these products are made, unmade, and recycled. What comes around goes around.
Korean cosmetics brand Whoo (后), conceived and designed by Mario Gagliardi and his team at LG Household and Health Care, has surpassed all competitors including Cartier, Louis Vuitton and Rolex for overseas luxury duty-free sales in Korea. It is the first time a Korean brand has become the bestselling luxury brand.
Chinese visitors to South Korea are buying less from global luxury mainstays like Louis Vuitton and Chanel in favour of cheaper home-grown brands, as young, independent travellers make up a bigger share of tourists. Lured by the “Korean Wave” of culture exports, from soap operas and K-pop music to food and fashion, price-conscious younger Chinese visitors are seeking a more authentic and less expensive shopping experience.
Form follows function: The most famous slogan in design. First formulated by Louis Sullivan in the late 19th century, it became a basic principle for rationalist design in the sixties of the last century. With machine learning, ‘form follows function’ turns to ‘form learns function’.
The management of brands is often biased by the way managers conceptualize and understand brands. We have identified four commonly employed metaphors of brands which, all in their own way, produce unwanted effects on the management and utilization of brands.
Company structures changed dramatically over the course of the last century. The structures and processes behind the production of goods evolved, and with these also the relationships of products and their users.
In the craft guilds, the skilled human was the originator of the product, and the focus was on skilled execution, made-to measure for the customer. The powerful guilds owned the monopoly on produced goods, heavily opposed the adoption of the newly available production machines and finally lost their power to mass-production.
In the mass production plants of the early 20th century, the machine – and the mechanically acting, unskilled worker – was the originator of the product. The customer focus of the craft guilds disappeared, and Henry Ford famously said that people can have any car they want as long as it is a black model T. Ford profited from a radical innovation, the assembly line, to create economies of scale.
But already 1927 Alfred P Sloane of GM introduced a different viewpoint and introduced the “Art and Color Section”, a predecessor of the modern design department. Production was still monolithic, but parallel, customers had a choice, and design was used to differentiate.