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Adam Richardson
Introduction
Industrial
designis in crisis.Whetherit recognizesit or not,it is
in a crisisof identity,purpose,responsibility,
andmeaningthat
communihaslargelygoneuncommented
uponby thepracticing
in itself.Theviabilityof
ty, a factthatis, or shouldbe,disturbing
the professionas it is currentlypracticedneedsto be seriously
its boundaries
anditsvaluesreconsidered.
questioned,
examined,
andthesupposedflounderAfterthefallof classicalmodernism
whatfollows?Where
ingof ourcurrent
paradigm
post-modernism,
doesdesignendandengineering
andinventionbegin?Orarethey
a singlecontinuum
withartificially
Whatare
imposedcategories?
theimpactsof design'sproductsin societalandculturalcontexts,
andaretheseimpactsimportant?
Thesearenot new issues,but
andmore,needto beanswered
thesequestions,
before
emphatically
theindustrial
becomesa ghostlyparodyof what
designprofession
it claimsto be.
is uponusandhasbeenforsometime.
Thedeathof thedesigner
andtheItalianCounter-Design
movementof the 1960s
Papanek,
wereallearlywarnings
whichhavesincebeenmuted.Infact,there
aretwodeaths:onepromising
theotherdamnation
reincarnation,
a seemingly
butonethatis inevitable
paradoxical
combination,
in today'sclimate.Bothdeathsmustbefacedif we areto avertthe
crisis.
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becomeof the project,althoughit hasostensiblybeenthe designer's task to control and limit the impendinginteractionbetween
cultureandproject,a taskthatcannotbe performedwell at a draft- instead
ingmachine.In this,thedesigneris grantedreincarnation
is
it
that the
there
is
liberation.
Once
acknowledged
of paralysis,
play of interpretationon the objectis unceasingandunstoppable,
a greatburdenis lifted.We shallsee laterwhatthismightimplyfor
the practiceof industrialdesign.
Looking beyond conventional semantics
So far,our analysishas been at the individualuser-productlevel,
with the concentrationbeingon the "form"halfof the "formfollows function"equation.Before describingthe second death of
the designer,it is necessaryto widen our scope to the level of cultureas a whole. Here,functionbecomesmoreprominentwhen all
the individualresponsescombine to form a numberof cultural
ones, and createa complexsymbiosisbetweenthe individualand
themasslevels.Withthisexpansionof scalecomesa shiftin emphasis. Culturedealswith categoriesof objectsratherthanindividual
products,so the specific form of a product becomes essentially
insignificant;its functionbecomingthe majorfactorandcausefor
attention.Here,thereis alreadya clue as to the seconddiminution
of the designer'srole.Designersdealwith individualproducts,not
the category(for example,"SonyTrinitron"ratherthan "televisions"), and consequentlyappearless importanton the greater
culturalscale.
The culturalresponseto a particularfunctiontakesplacebroadly in three ways. The first and most immediateresponseis that
meaningscometo be associatedwith thefunctionof theobject.For
example,the telephonehasnumerous"mythical,"in the Barthian
sense,attachmentsthatrangefromover-extendedteenagegossiping to telemarketing,from informationtransmission(humanand
electroniccommunication)to ordinarycallsof friendship,as well
as strongassociationsof power, control,and subservience.Since
the telephonehas beenwith us for a periodof time,some of these
myths are derivedfrom the second type of response:the socioculturalimpactof theproductovertime.Whenthephonewasfirst
introduced,it was not considereduseful in the domesticsphere
(who would you want to call?).Now, it is one of the most ubiquitous products, and to live without a telephone is almost
unimaginable.Its assimilationinto societyis complete,andwe are
absolutely dependenton it. Our lives, our world is structured
aroundknowing that it is available.Surelyit is not possible that
AlexanderGrahamBellforesawwhatwould be madeof his invention or how it would evolve to createand fill nichesas though it
werea livingorganism.This bringsus to the thirdresponse,which
is a technologicalone:functionsarenot static.Rather,they change
andmutate,crossingoverintootherareasof technologyand,in turn,
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sorely needs to be definedand developed,and not left in its current nebulous state.
The correctionof this deficiencywill take time. Likewise,so
will therecognitionthatdesignersshouldbe presentattheveryconception of the productand the reevaluationby designersof their
roles in the processof "formfollows function."Whilethe implementationof thesesolutionsto thecurrentcrisisof industrialdesign
is imperwill be experimental,
evenproblematic,suchreassessment
ative,for thepaththatindustrialdesignis currentlyfollowingleads
only to its bastardization.
Acknowledgements
I wouldliketo thankMarkBartlesandDave Orgishfor theirhelpful commentson an earlierdraftof thisessay.Boththe essayand I
have benefitedgreatlyfrom them.
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