2/26/10 Required Reading Reflection: "The Magic of the Workshop - Where hand and mind unite," by Henrik Sten Møller, and "Walk the Plank," by Tine Nyg

In Møller's essay, "The Magic of the Workshop," he discusses the problematic rift between industry and craftsmanship in a historical perspective and how this rift is problematic. Today, he explains, most designs that are mass produced lack the quality that actually belongs to industrious traditions whereas today's designers are more interested in creating works of art as opposed to functional products. Both side then, are responsible for this unnecessary binary, we cannot simply think of the craftsman as someone lost along the way of progress or of industry as unable to incorporate good design. At the end, Møller calls for the two sides to meet, reminding the reader that machines are not contrary to the process of craft but actually make many designs more possible. But he also tells as to "stop putting craft in museums; develop the craftsman trade as an indispensable part of modern industry" (85). And it is this sentiment that stayed with me as I read Nygaard and Dickson's essay, "Walk the Plank."

The very first paragraph of "Walk the Plank," in which the project itself is described, Nygaard and Dickson explain that the pieces of furniture created by the designer/cabinet maker pair will be displayed at the Kunstindustrimusseum. Now, I understand that this project is coming out of the museum and that the museum's status provides the event with a level of prestige that would be otherwise difficult to attain. Nevertheless, I can't help but think that this institutionalized context contradicts the project's intentions of reuniting design and manufacturer in a real world context.

Bille goes Zen Chair, designed by Louise Campbell for Walk the Plank 2003
http://www.louisecampbell.com/uploads/images/work_images/furniture/billiegoeszen_01.jpg

Despite this criticism, I was intrigued by the concept of design as a form of communication. This communication is a cross discipline attempt to intervene with social systems to create the most influential changes in everyday life. Going off of the idea that artists are the ones who are most able to imagine creative solutions to society's problems and that designers are dedicated to the creation of functional products, the concept of making the design process into a form of communication that unites artists and designers with manufacturers, scientists, and engineers to solve the worlds most complicated problems sounds like a brilliant idea.

The article highlights Superflex, a group of Danish artists that works at creating creative solutions to economic and environmental problems in developing countries. Superflex has created a biogas plant for countries such as Ecuador and Tanzania that produces cheap and transportable energy from manure. The design is functional and practical and creative. But what struck me is that the Arken Museum for Modern Art purchased the biogas plant for it's permanent collection. Which brings me back to the first reading and Møllers assertion that design should be be in museums and instead in the real world.

Superflex's Biogas in the Arken Museum
http://www.superflex.net/tools/supergas/users/pics/arken02.jpg

Now, I looked up Superflex, and it appears as if they have several biogas systems working in different countries, so in this way, the designs are working in the real world. And we can hope that the original biogas system now in the Arken collection will educate more people about the usefulness (and importance) or art and design for solving everyday problems. Similarly, the Walk the Plank project will only be successful if the money it gives to designers is used to create designs that are similarly concerned about the future, connect to larger systems, and focus on communicative efforts. Therefore, design can have a place in museums, but only if museums are similarly involved in this process of making art and design a broader and more interconnected discipline.

Superflex Biogas system working in Cambodia http://www.superflex.net/tools/supergas/users/pics/cambodia01.jpg

2/23/10 Required Reading Reflection: "Furniture and Industrial Design," from the Ministry of Foreign Affairs of Denmark

Just reading this factsheet, "Furniture and Industrial Design" in Denmark would leave you with the impression that since the Danish Golden Age, design in Denmark has been a thriving, global presence, paving the way for innovation while maintaining a high level of tradition and craftsmanship. Referencing international exhibitions of Scandinavian design, world regognized furniture designers who are possibly more famous today than when they were designing such as Arne Jacobsen, and the emergence of more technologically advanced design, the reader is lead to believe that today, Danish design is still at the cutting edge, at the very forefront of design innovation all while maintaining its connections to past greatness.

And in many respects this is all true. Danish design continues to be recognized for its creativity, innovation, clean simple designs and functionality. But the suggested reading, "Danish design in as old chair," by Sune Aagaard complicated the Ministry's glowing overview. Aagaard argues that in many ways, the Danish Golden Age overshadowed today's designers by being constantly compared to designers of the past. The irony of the situation is that although Golden Age designers were mindful of craftsmanship traditions and often looked at great designs of the past, they nevertheless made a definite break from past conventions. And it was this break from the past that allowed them to achieve such greatness.

Veryround Seat, by Louise Campbell - cutting edge Danish desiger but is she still overshadowed by those who came before her?
http://kulturabivanja.files.wordpress.com/2008/10/louise_campbell_veryround_armchair_amo.jpg

So I began to wonder. Why were designers in the 1960's and 1970's able to make such a big break while designers today are often trapped by the past. Granted, the 1960's and 1970's are marked by cultural upheaval, unconventionality, and a belief that the status quo should be broken. But today's society, while possibly less radical, is nevertheless characterized by a drive to perpetually more forward and move faster. What then prevents Danish designers from breaking away with their design heritage?

The Ministry suggests that one of the driving forces of the Danish Golden age was the post-war values of democracy and humanism (2). I don't think there has been anything comparable to WWII in the last few decades to produce such a profound shift in world perception. But Aagaard explains that unlike in the mid 20th century when furniture and product design was the arena for design innovation, today's design fronts are more technologically based:

"A wide variety of new disciplines within design, many of them closely related to technology, are developing rapidly. A parallel development is taking place within immaterial design, e.g. design of information processes. And in these areas Danish design and designers have not managed to establish a strong position."

Perhaps then, the reason why Danish designers today are not considered to be as great as Golden Age designers is because the field they are focusing in is simply not as prestigious as it once was. More than anything, today is a technological and informational age and so, if Danish designers want to achieve the greatness of those who came before them, they need to concentrate in the field that will allow them to do such. Aagaard even hypotheses that if the designers of the Golden Age were around today, they would be "involved in technology design," because of "their desire to take what is known one step further". In the golden age, this meant bending wood, experimenting with plastic and other inorganic materials. But today technology design surpasses furniture and product design.

Danish designer Hân Pham's Antivirus design turns an empty soft drink can into a safe depository for dirty needles - 2007 Index: Award Winner
http://7335.virtual.yourshelter.net/images/article_images/article_image_66.jpg

The end of the Ministry of Foreign Affairs factsheet mention's the emergence of medical technology design and environmentally friendly deign. I believe it is fields like these, fields that are conscious of the current social and political world, that will allow Danish designers to rise to the level of prominence as the Golden Age designers. Areas like these and others still provide the opportunity to be respectful of tradition in the sense that knowledge, craftsmanship and functionality will all be stressed. But just as the Golden Age designers were able to distinguish themselves from the designers before themwith their innovate aesthetics and materiality, designers of today will stand out as pioneers by improving our world, not with chairs and light fixtures, but with better hearing aids and faster information processing systems.

Click here to view a short video on one of the 2009 Index Award Winners. The project, PIG 05049 tracked the products produced from a single pig to help consumers understand what goes into the process of producing food and a variety of many unexpected products. The project is an example of how design can be used to help understand and explore information and technology in today's society that is often not understood by the average citizen

2/16/10 Lecture Reflection: Furniture Design

All over Denmark, I had been seeing the same few lamps over and over. One in particular was absolutely gorgeous with scalelike shades creating a large organic shape that cast the most beautiful glow in a graceful manner. The other lamps I saw repeatedly were much simpler, with fewer shades in a more familiar domed shape but were equally elegant and functional. In stores and homes alike, I was greeted by these light fixtures. But who were they by?

Artichoke Lamp, Poul Henningsen
http://lamarilla.files.wordpress.com/2008/12/poul_henningsen_ph_artichoke_lamp_pnq.jpg

Tuesday's lecture gave me the answer: Poul Henningsen. The first lamp is the Artichoke (1958) and the other was the PH5 (1958). Henningsen believed in the unification of beauty and utility and that is exactly what he designed. As an architect turned self taught lighting designer, Henningsen recognized the importance of tradition and craftsmanship while still wanting to push forward with technology. But because he was more than just a product designer, Henningsen's influence reaches beyond his light fixtures. His idea of light zones made people more aware of how light and space reacted and brought them back to a time when lighting could create a cozy atmosphere (hygge influence?). Additionally, his design criticism and demand that people should have better taste was able to raise deign awareness in Denmark so that now, the average person invests a large proportion of their means on products for their home. The level of aesthetic taste in Denmark could be argued to be considerably higher than most other countries and Henningsen is partially responsible.

PH5 Lamp, Poul Henningsen
http://www.finnishdesignshop.com/images/ph5_tk.jpg

Henningsen's lights have become so incredibly popular not only because of their beauty but because they were designed with so much thought. He recognized that PH lighting was not designed for the home, it created dismal and depressing atmospheres. Conversely, Henningsen considered light distribution so that he was able to create lamps that eliminated glare and produced warm, clean light. Experimenting with materials, he found what would produce the best light. His lamps are a classic example of a successful marriage between function and beauty.

I would also argue that Henningsen's lamps reflect a democratic desire. He created lighting for people's homes, public spaces, stores, every area of life. Although his light fixtures can be quite expensive today because it is associated with his name, originally, the lamps were created to be accessible to the average person. And if you go into the home of a Dane, chances are you will see a PH5. Henningsen sought to improve the daily lives of Danes and that is precisely what he achieved.

2/19/10: Symposium 4 of 8, Craftsmanship & Mass Production

Do Danish designers employ futurism in their design for solving everyday problems?

Granted, Danish designers tend to look to the past in order to gain inspiration for new designs. Nevertheless, I don't think that any designer truly wishes to create static designs. Instead, they are looking forward in an attempt to prove what has been done before. Some are more interested in aesthetic improvements, others are more concerned with functionality. But this propulsion to progress is quite universal, especially in the last few decades when the tempo of life has literally sped up.

Vernor Panton (1926-1998) is an excellent example of a Danish designer who looked to the future as inspiration for his creations. The majority of his most popular and influential designs came out of the 1960's and 1970's. This period in time was not only marked by a progressive, liberating, and creative spirit that welcomed change and a break from conventionality, but also the era of the space exploration as well as a fascination with plastics and other synthetic materials. Panton's designs reflect this fascination with the future, with bring colors, loud shapes and exciting possibilities.

VP Globe, Verner Panton
http://www.danishwayofliving.com/verpan/Graphics/1VP_Globe_Stor.jpg

One of Panton's most striking designs is the Living Tower, a sculpture and seating combined. Constructed out of a wood frame covered in foam, the Living Tower is a reconsideration of space and social interaction as well as an experiment with materials. Ergonomically designed, the Living Tower contains multiple seating configurations, all of which are comfortable. But it also pushes the definition of a chair, a couch, a sculpture but being all and none at the same time, expecially considering that it some ways, the piece consists more of empty space than material. But in a home, it allows for comfortable living. It is functional, it is artistic, and it is forward thinking.

Living Tower, Verner Panton
http://static2.bonluxant.com/cmsense/data/uploads/thumb/thumb_verner_panton_living_tower_s74.jpg

Most of Panton's designs can be similarly considered, such as his Panton Chair which consists of one simple piece of casted plastic with a free hanging seat. Both the materiality and the design reflect a futuristic approach which still being conscious of functionality. Panton's lamps scream space age with their globular shapes and use of plastic and metal. And his Barboy side table is not only modern in its sleek design but also supremely functional and innovative. All of these examples illustrate a designer who was always concerned with functionality and improving daily life but also one whose aesthetic was firmly planted in the future.

Barboy, Verner Panton
http://www.aram.co.uk/acatalog/barboy.JPG

2/19/10 Required Reading Reflection: "Applied Art Between Nostalgia and Innovation," by Kristian Berg Nielsen

Today, I visited the Kunsthal Charlottenborg to see the Color State exhibit by Malene Landgreen. The exhibit consisted of six rooms, some with bridgthly painted walls, others with panels of fabric, others with sculptural or architectural elements, and many with some combination of these elements. Because I was with a class, I was presented with a set of questions to consider when viewing the work. One of these questions asked what the work was, design? painting? drawing? sculpture? After walking through the exhibit several times, the class came together to discuss the questions. People's opinions about the work varied greatly, particularly concerning the question I just raised. What was this exhibit? Many argued that is was design: the way that it interacted with space, light, and even function made them think that the rooms were not art so much as atmospheres. On the other hand, the conceptual element of the exhibit, it's hand painted nature, and use of color theory made others quite convinced that the work was painting, simply in a contemporary context. But I think our professor asked us this question because there was no right answer. Landgreen's work exists in that space between art and design and that is precisely why it is so compelling.

Color State, by Malene Landgreen
http://kunsthalcharlottenborg.dk/library/pictures/picturesScaled/max750_450/456759.jpg

In his essay, "Applied Art Between Nostalgia and Innovation," Nielsen considers that perhaps the reason that applied art still captures so many people despite it's being anachronistic is because it exists in a similarly in between space. Citing Peter Michael Hornung, Neilsen suggests that maybe we should

"regard the 'fine' artist and the craft artist as 'members of the same creative fraternity': perhaps we should see the great variation in specialized designation for creators as indicators of an inertia in institutional boundaries shaped by education, museum categories, art criticism... that is, regard the classic distinction between 'fine art' and 'the lesser arts', i.e. the applied arts, as meaningless" (44).

In other words, we can stop looking at creative processes as being on one of the two sides of the artistic binaries. These binaries invariable place one higer than the other so that today, fine arts are considered a higher artistic form than applied arts, even though applied arts require just as much skill and creativity as the fine arts. And both serve similar functions: fine and applied arts should have some regard for the aesthetic, both are a reflection and/or critique of society, and both improve daily life, even if their effects are experienced differently.

I found it particularly interesting that Neilson used the Bauhaus as an example of an institution where "all types of visual and plastic artistic creation could thrive together," especially after my previous post on the sexism that existed in the Bauhaus (45). Yes, weaving and architecture were taught in the same school, but that did not mean that these two fields were valued equally in the way that Hornung suggests. Instead, the binary between lesser and greater art was upheld through gender. Women participated in weaving and ceramics, men in architecture and design and so the disciplines were valued accordingly. Interestingly, even in Hornung's quote, a "fraternity" of creativity is referenced. Now, I know I'm nitpicking with semantics here, but we cannot ignore this blatant reference to the art world as a man's sphere. Two lose examples of this gender hierarchy could be:
- a man is a chef but a woman is a cook
- a man is a fashion designer but a woman is a seamstress

Another binary that we can consider in the rich/poor divide. Could it be a coincidence that at the turn of the century when the debate over craftsmanship v. mass production was first rearing its nasty head coincided with the emergence of communism? And that the Russian futurists who so passionately defended mass production were highly influenced by communism? This debate, therefore, has less to do with new technology that allowed for mass production and more to do with the social and economic climate of the early 20th century. The lower and middle classes were getting restless while the upper classes were appalled that the 'fine' art that they were used to being surrounded by was falling to the wayside.

In the end, I think some more basic binaries are going to have to be broken down in society before fine v. applied art can be tackled. But there's no harm in trying. Anyway, the attempts to do so are often quite spectacular.

Teapots, by Mette Marie Ørsted Eriksen - an example of that striking straddling between fine and applied arts
http://galleri18.dk/img/mette-01.jpg

2/12/10: Symposium 3 of 8, Making High Quality Design Available to the General Public

Overall, I think our group presentation was a success. For me personally, it started off on a bad not because my group did not even know I was a member. When I contacted them, they were surprised and had already started thinking about the project. Because of that, from then on I always felt a little disjointed from the rest of them, as if I was an intruder upon their project.

Nevertheless, we all got along well, cooperated and split up the work fairly equally. Group projects are often frustrating to me because I often end of being the person that carries the heaviest workload but that did not happen to me this time. I always felt I was doing my share of the work but knew that my teammates were doing the same. I never had to ask if they had completed something, they just did it. And the same went for me. After we split up the work and I found out that I was covering Classicism and Threats to Democratic Design, they did not need to check up on me and follow my progression. Instead, each time we met to prepare for the presentation, we would report to the others what we had found, bounce ideas off on another, and think up questions that we wanted to present to the class.

Although it was quite easy for me to discuss Threats to Democratic Design because of the suggested reading, “The Architect & The Other: Can architecture be democratic?” by Jeremy Till, I found it much more difficult to come up with material for Danish Classicism based on the required reading. Instead, I did a little research into Danish History between the late 1700’s and mid 1800’s and ended up finding more interesting and relevant material than the reading presented. For instance, I think the Copenhagen fires and the rebuilding that followed were very interesting examples of how the city was designed for a more democratic living experience.

Also, quite by chance, in my Memory & Identity: France course that previous Monday, a guest lecturer mentioned the Grande Arc de la Defense in Paris that was designed by a Danish Architect. When she also mentioned that it was built to celebrate humanitarian victories as opposed to military ones, I thought it was a perfect example of what our group was trying to describe. A design that not only reflected democratic ideals but could be enjoyed by anyone. It was a very small aspect of our presentation but I was pleased with it nonetheless. I thought Holly’s idea for the Tiger game was very clever and made the class interact with the presentation. I do wish that they could have been more awake but over my last month at DIS, I have come to realize that students here just do not participate as much as they do at my home university. That said, our group was planning on doing a debate, with one half of the class arguing that Democratic design has to be for the “other 90%” and the other side arguing that it does not, but because of their low level of participation, I don’t know if it would have been successful and so in retrospect, I am a bit relieved that we did not end up carrying it out.

La Grande Arche de la Défense
http://www.channel4.com/4homes/images/mb/Channel4/4homes/architecture/styles-of-architiecture/french-architecture/La-Grande-Arche-La-Defense---gt_full_width_landscape.jpg

In the end, I certainly learned a lot - about Danish history, product design, and democratic design. And I think the conclusion I walked away with is that democratic is an ideal more than anything else. It is an aspiration that can never quite be attained because people will never be quite equal. But, I think a very good point was raised that our group never considered: the aspect of choice. Democracy is not equitable with social equality but it does imply the ability to choose. If this is the case, then perhaps democratic design can and does exist.

2/10/10 Fieldstudy: Royal Copenhagen, Georg Jensen, Illums Bolighus

Arne Jacobsen's Series 7 Chair, Historical v. Contemporary Designs

When Arne Jacobsen designed the Series 7 chair in 1955, the set of the chair was made of lacquered wood and available in natural, black, and white finishes. Designed to be functional (the chair stacks, is lightweight and comfortable) the chair was relatively simple and easily produced. Today, countless reproductions and variations of the Series 7 Chair exist, many good examples of which I saw today at the Illums Bolighus. Although it is still possible to purchase a Series 7 Chair in lacquered wood in one of the three original finishes, those options are now eclipsed by a multitude of materials, colors, and even sizes that the chair comes in today.

As opposed to the 1950's, present day society's consumer, so heavily and thoroughly influence by globalization, is often most interested in displaying their individuality through their possessions. Despite the irony of displaying one's uniqueness through a mass produced product, this urge to be individualized has created a product market that is obsessed by variation. Therefore, when you walk into the area of Illums Bolighus where Series 7 Chairs are sold, you are confronted with a wall of possible chair finishes - green, pink, various woods - so that the processing of buying a chair becomes more like defining yourself through color.

Variety of Colors and Finishes

In regard to material, many of the Series 7 Chairs showcased were not made of lacquered wood but plastic. I can't help but think that this shift, while admittedly more economical, marks a step away from craftsmanship. If the multitude of colors that the chair comes in makes it more personal, than it's plastic-ness balances the scales once more by eliminating any sense that the chair you're sitting on has ever been crafted by hand. Additionally, this switch to plastic displays a disregard for material and natural resources. Instead, today's product market is more often than not most concerned about ease of production and the bottom line. Plastic is cheaper and easier to work with - and it does not require skilled craftsmen. Therefore, plastic is marketed to the masses under the claim that it is more durable, in spite of the fact that plastic is not biodegradable and therefore unsustainable.

Wood v. Plastic

Another thing I found interesting was how the chair now comes in a child size. By using 1:1 scale models, Jacobsen was able to produce chairs that were perfectly contoured for the human body. But that ergonomic design is lost if it is simply reduced to a smaller size without consideration of the different proportions of a child's body. Therefore, the chair becomes less about function and more about filling an untapped niche in the market. In today's society where parenting has become "cool" and children are often just another opportunity for parents to accessorize their life (I'm being a bit extreme here, but bare with me), this child sized Series 7 Chair becomes less design and more of a money making tool. As adorable as the chair is, I can't help but think of it as a much more than a gimmick.

Child Sized Series 7 Chair

And just a final note. I did a google search of the Series 7 Chair just to see what would come up and one of the first results was from hive. A great modern design store whose website, hivemodern.com I often enjoy perusing in my free time, hive sells a wide variety of the Series 7 Chair in 12 different colors and countless different variations such as a rolling chair, one with arms, a child's chair, etc. The website describes the chair as the ingenious design of Arne Jacobsen and being perfect for any setting. Nevertheless, this chair that seems to perfect for everybody and ideal in any circumstance is a whopping $466.00, for ONE chair. I wonder what Arne would think about that.

http://hivemodern.com/pages/products.php?view=sub_product&sid=1590&cid=

2/9/10 Lecture Reflection: Product Design

What in Danish Design is Borrowed and Where Then do We Find Ourselves in the Multitude of Creations?

Living in a globalized society, I can't quite imagine many things that are entirely unaffected by outside influences. Even the oldest cultures were influenced by their contemporary cultures. For example, Classical Greece was heavily influenced by Egypt among others. Nevertheless, we can look back on Greece as a specific culture with particular artistic styles not because it was an entity separate from all others but because through tradition, Greek style was able to crystalize into its own entity.

If we consider Danish Design then, yes, Denmark was heavily influenced by Western Europe and Scandinavia. By the 19th century, American ideas of democracy and freedom began to incorporate themselves into the Danish mindset. And as we see in Bindesbøll's ceramics, Japanese and Mexican artistic traditions managed to inspire new designs. But regardless of all of these outside influences, we can still recognize a distinct Danish Design tradition, not only because of it's rich history but also because of the Danish rooted schools of thought, a common mindset shared by Danes, and the influence of the Danish landscape.

Glazed Earthenware Dish, by Bindesbøll, Thorvald
http://media.vam.ac.uk/media/thira/collection_images/2006AU/2006AU9413_jpg_l.jpg

The role of history in design is inescapable, especially when we consider design as a process of reformulation rather than creation. Although Danes were (and still are) constantly influenced by outside forces, they were nevertheless working within a Danish tradition that from the very beginning valued craftsmanship, resourcefulness and functionality. Furthermore, these traditions were the result of Denmark's landscape - the limited resources, cold ad windy climate, and gently rolling hills. And of course, then there is the traditional master/apprentice relationships and the art institutions such as Bauhaus and Ulm School, both of which created designers who were dedicated to upholding the Danish tradition of greatness all while pushing the bounds of design further. Therefore, Danish design exists in the designers who are admittedly influenced by a multitude of outside forces, nevertheless exist in a Danish society.

Arne Jacobsen
http://michaelkaminer.files.wordpress.com/2009/06/jacobsen_320_336-1.jpg

And I believe it is this Danish mindset that allows Danish Design to get close to achieving democratic product design. Gruntvig's educational philosophy that promoted the importance of an education focused on education for all created a nation of people that expects to have design in their daily lives. The welfare society also created a nation that is invested in one another so that they truly believe that good design should be available to the masses. And again, Denmark's limited resources established a dedication to making produces that were not excessive but highly functional and resourceful. With these values in the forefront of the Danish mindset, designers were prepared to products that could be easily mass produced while still being highly aesthetic in their simplicity of form. Perhaps then it is this end product that can reconcile borrowed inspiration and true Danishness.

2/9/10 Required Reading Reflection: Excerpts from "Danish Design", edited by Svend Erik Møller and translated by Mogens Kay-Larsen

Reading about the fathers of Danish Design in relation to democracy made me think of the Founding Fathers of the United States. And both groups seem paradoxical, hypocritical even.

Although the American Founding Fathers have gone down in history as champions of democracy, looking back with a critical eye reveals that these men were anything but Democratic. Perhaps they were Republican idealists, with a grand notion of equality - but equality for a select few. Considering the original Constitution, only white, male property owners were able to vote. Women were not, poor men were not. And then there was slavery. So although the great American experiment was revolutionary, in actuality, the status quo changed very little. A small group of men decided the fate of the nation based on their superior education, class, and influence.

And then we get to the Danish Designers. These (well-educated, privileged, white) men turned away from design traditions that valued the ornate and showy and instead concentrated on form, function, and material. On one hand, this design shift can be seen as an effort to create products not for an elite, select group of people, but for the everyday experience of the average person. But the sections on Arne Jacobsen and Henning Koppel in 'Danish Design,' edited by Møller and translated by Kay-Larse reveal interesting paradoxes in these "democratic" types of design. Repeatedly, Jacobsen's designs are described as being so "distinguished by a natural elegance" that his works are all easily recognizable as his own (58). Then again, his works were characterized as having a "conception of shape that immediately tells us who the man is" (63). Which begs the question, which man? The man who designed the chair, or the man who owns it? If design is to be democratic, can the designer be so prominent in his design? Or should he disappear into its seamless, functional design? As for Koppel, Møller acknowledges that although Koppel believed "that people should have the opportunity to surround themselves with marvelous things," by working with silver, his sentiment becomes paradoxical (91). Again, then, the designer is placing himself above the consumer, even while claiming to be designing for the people.

SAS Hotel, Copenhagen, Denmark, designed by Arne Jabobsen - What kind of person was (and still is) able to stay in this hotel? http://style-files.com/images/sas500.jpg

Silverware designed by Henning Koppel, now being auction off by Cristie's for thousands of dolars
http://www.christies.com/lotfinderimages/d52518/d5251870l.jpg

Just as the American Founding Fathers were an elite group of men that established a country for the masses even as they established a system that benefited their own social circle, so too do the Danish Designers design products that reflect democratic ideals while ultimately designing products that are most enjoyed by those who can afford their handcrafted furniture, silver, and porcelain. Nevertheless, American government, as exclusionary as it may have been, has been greatly expanded to include women, people of color, and people of all classes. Similarly, Danish Design has trickled down to the homes of average people. Both still have a long way to go to actually become democratic. But, at least in regard to Danish Design, we can see how great design does exist in the everyday Danish experience. Consider the Black Diamond. A marvelous example of architecture and design which is accessible to everyone. Or even Jacobsen's Chair 1954. He wanted to make the chair out of wood but it was too costly. So instead, she made it out of laminate, a decision that not only made it less expensive but also able to come in a wide variety of colors. Therefore, the chair became not only affordable but desirable to a wide array of people.

Copenhagen Royal Library, "Black Diamond," designed by Schmidt Hammer Lassen Architects

http://upload.wikimedia.org/wikipedia/commons/8/83/Den_Sorte_Diamant_1.jpg

Perhaps, a truly democratic design is impossible as long as there is a designer. The position of knowledge invariably places the designer in a position of power over the consumer. And, there is a human desire to put one's mark on the product he/she designs. Nevertheless, the aspiration is a good one. Products can be designed more efficiently, the consumer (regardless of class) should be considered, and function should continue to be of the utmost importance. The more design becomes accessible to everyone, the more people will demand good design. This demand should reduce the gap between what the designer wishes to spend and what the consumer believes is really necessary. Maybe democratic design is possible.


And just a side note: I appreciated designer Børge Morgensen's principle against using plastic as it was a material that did not decompose. An early sustainable designer, perhaps?

Symposium #2: Design as a Tool for Marketing and Branding

ABSENT DUE TO ILLNESS