Lessons Overview-Topic 6.

1:

Introduction to topic 6
Discuss topic concepts and principles, nature of design and relation to internal assessments
Check Prior knowledge (Brainstorming map on board) 5
Childhood memories? minutes
How do product remind you of the past?
Group work- in groups students will investigate the following: 15
Characteristics of classic design, identifying the main characteristics, outlining how each characteristic triggers a classic design: Minutes
1. Image. 2. Status and culture. 3.Obsolescence. 4.Mass production. 5. Ubiquitous / Omnipresence. 6.Dominant design.
Reinforce learning 80
Lecture (covering the following content): Minutes
-How image makes a classic design instantly recognisable and provokes emotional reactions.
-How classic design defies obsolescence and transcends its original function.
-How the role of mass production contributes to a product reaching classic design status.
-How the constant presence of a product in a changing context leads to classic design status.
-How classic designs are dominant in the marketplace and difficult to change.

Closure 10
-Class discussion and revision minutes
Homework
Assessment objectives
Assessment objective 1
-Define Describe two characteristics of classic design that are well represented in “the
(Give the precise meaning of a word, product”
phrase, concept or physical quantity)
-State Describe the relevance of ‘emotional reactions’ for designs which are
(Give a specific name, value or other considered classics
brief answer without explanation or
calculation.)
Assessment objective 2
-Outline Outline the relevance of culture in helping maintain the popularity of this design
(Give a brief account or summary ) classic

Outline how mass production has played a role in making the “product” a
classic design

Outline how this is an example of a design classic defying technological

obsolescence

Outline the relevance of status in helping maintain the popularity of this design
classic

Outline the importance of a design transcending its original function for it to be

recognized as a design classic
 Assessment objectives
Assessment Objective 3
-Explain Explain three characteristics that have led the “product” to be a
(Give a detailed account including reasons or classic design
causes.)
Explain Harry Beck’s original map can be considered an example of
a dominant design
Classic design:

Content:
● 6.1 Characteristics of classic design.

○ Classic design, function and form.

○ Image.
○ Status and culture.
○ Obsolescence.
○ Mass production.
○ Ubiquitous/Omnipresence.
○ Dominant design.

● 6.2 Classic design, function and form.

○ Form versus function.

○ Retro styling.
○ Conflicts and compromise.
○ Practical function versus psychological function.
6.1: Classic design: Characteristics of classic design.

Concepts and principles: Content:

1. Image. ○ How image makes a classic design instantly

2. Status and culture. recognisable and provokes emotional reactions.
3. Obsolescence. ○ How classic design defies obsolescence and
4. Mass production. transcends its original function.
5. Ubiquitous / Omnipresence. ○ How the role of mass production contributes to a
6. Dominant design. product reaching classic design status.
○ How the constant presence of a product in a
changing context leads to classic design status.
○ How classic designs are dominant in the
marketplace and difficult to change.
6.1: Classic design: What makes a design a classic?
A classic design is sometime referred to as “iconic”. This iconic status in society is often achieved when the design has been
around for a long time, been established as a quality product that is continually in demand. A classic design does not rely on
heavy marketing or advertising, although this often does take place to reinforce the status of the design and remind the next
generation of consumers of its intrinsic value and position as an “iconic” design classic. The design is often imitated and copied,
usually with cheaper versions. This can often reinforce the status of the original design and its “pioneering” concept.
The design resists the A design classic is an industrially manufactured object with
“Criteria” for a design to become a classic: moods of taste and timeless appeal.
fashion and once
-The design sets a benchmark for others to established as a "classic"
follow. it gradually acquires
-The design is innovative. further value.
-It sets a trend.
-Is ground-breaking in terms of technological or
manufacturing advancement in its production.
-The design has its place in history, or even What would you
helps change history. consider a classic
-The design is aesthetically pleasing. design?
-It’s a design that improves on the past. Braun v Apple -
-It sets new standards in terms of quality, style, classic or not?
function or features.
-The design stays in the memory of those that
see or use it.
-The design can immediately be recognised.
-The design inspires other designers.
-The design is often emulated or copied.
6.1: Classic design
6.1: Classic design

List factors that would make any product to be considered as a design classic?

Image
Dominant design
Iconic
Recognizable
timeless
Omnipresent
 6.1: Classic design: characteristics of classic design

Image Culture Status

Image makes a design
classic instantly
recognizable and provokes
a variety of different
emotional reactions in
people, such as nostalgia or
innovation.
In the context of classic design, culture plays an important part. They
often reflect cultural influences and mark transition points within a
particular culture. The culture of concern may be national, religious or
a sub-culture, such as a particular youth culture or movement.
Design classics can reflect cultural influences.
-It may be a national or religious cultural influence.
Vegemite is strongly associated with Australia. Even the advertising
Jingle is a cultural icon.
-It may concern a sub-culture such as a
particular youth culture or movement.
For example UK Skinheads’ footwear
were Dr Martens boots with its yellow
stitching.
-Evokes emotional attachment Nostalgia A sense of belonging
Products considered as classic designs often
increase in value and can project a certain status
as they become more desirable. The ownership
of a classic design can increase the perceived
status of an individual.
A classic design can indicate the status (social
position) of an individual.
Increase in the perceived status of a person.
Connections with the elite class
Conveys a feeling of satisfaction.
A feeling of
owning a rarity.

Obsolescence Mass production

A classic design defies obsolescence and transcends its original function: The Mass production contributes to a product reaching classic
classic design may no longer be needed as a functional object, or it may design status such as the VW shown below or the Bic Pen.
become technologically obsolete. However, it may still sell very small numbers being mass-produced spanning decades leads to it being ever
although it may no longer be viable to produce it commercially. In such present or omnipresent.
circumstances, the resale value of existing products increases enormously as Mass-production made cars affordable (due to economies of
the number of products available lessens over time. Such products become scale) so it sold well.
very collectable and have investment value, for example, classic cars. Mass-production made them easily
Other products may not intrinsically be worth much money but are valuable to available.
certain owners or collectors, such as toys that have been used and are in poor Its simple design (and mechanics) lent
condition. itself to mass production.
 6.1: Classic design: characteristics of classic design

Ubiquitous/Omnipresence
Omnipresence – In the context of classic design, a product that is omnipresent has existed and been in circulation for a long time.

Ubiquitous – In the context of classic design, a product that is ubiquitous is one that can be found almost everywhere. For example, a mobile
phone.
A classic design often has a constant presence, or omnipresence, in a rapidly changing context and has been in constant circulation.

Dominant Design
The design contains those implicit features of a product that are recognized as essential by a majority of manufacturers and purchasers.
For example, Coca-Cola – the shape of the bottle, the font and red color.
Classic designs that are also dominant designs in the marketplace are difficult to change them.
because it is popular or omni-presencent
those that have defied obsolescence and have been a round a long time tend to have emotional attachments Nostalgia
Dominant design has been around a while, if it changes not so recognizable and the company could risk profits
 6.1: Classic design: Image.
How image makes a classic design instantly recognisable and provokes emotional reactions.

Image makes a design classic instantly recognizable and provokes a variety of different
emotional reactions in people, such as nostalgia or innovation.

Video 2: Eames lounge chair.

Image
The product has a distinctive shape/features/aesthetics
Making it instantly recognizable
the product creates an emotional / nostalgic response

Image: The general impression that a person, organisation, or product presents to the public.
 6.1: Classic design: Status and culture.

How are classic designs often recognised across different cultures and hold iconic status within these cultures?
Design classics can often reflect cultural influences. The cultures concerned may be national, religious, or it may concern a
subculture within these groups, such as a particular youth culture, that can drive trends and therefore inspire design development to
cater for these user needs.
Often referred to as "iconic", the longevity of classic designs suggests quality and the continued demand for such products is not
dependent on heavy marketing or advertising, although this often takes place to reinforce the status and remind new generations
of consumers of the intrinsic value of the classic design.
The design is often widely imitated, usually with cheaper versions, so this reinforces the status of the original design and its
"pioneering" concept. Design classics can reflect cultural influences. The culture concerned may be national or religious or it may
concern a sub-culture such as a particular youth culture.
Mini
Defender
cooper
guitar

Status
Ownership of the product project a certain
social status
Make it a more desirable product

Culture
The product reflected a particular time Classic designs are often recognised across cultures and hold an
Make it iconic/ accessible to many families iconic status within them. Simple, Recognizable, memorable, sets a new
standard for others to follow
6.1: Classic design: Obsolescence.

How a classic design defies obsolescence and transcends its original function.

A classic design defies obsolescence and transcends its original function: The classic design may no longer be needed as a
functional object or it may become technologically obsolete. However, it may still sell very small numbers although it may no
longer be viable to produce it commercially. In such circumstances, the resale value of existing products increases enormously
as the number of products available lessens over time. Such products become very collectable and have investment value, for
example, classic cars.
Other products may not intrinsically be worth much money but are valuable to certain owners or collectors, such as toys that
have been used and are in poor condition.

Defies obsolescence
The product was a breakthrough product, which set new
standards
It has become iconic.
It transcends its function

Obsolete. No longer produced or used; out of date.

6.1: Classic design: Planned or perceived obsolescence.

Planned obsolescence is when a product is deliberately Planned obsolescence can sometimes be called premature
designed to have a specific product cycle. It is usually obsolescence. This is where the technology of the product is
designed to shorten the life span of the product. in advance of the products current life cycle. Premature
obsolescence is where a company deliberately slows down
The product is deliberately designed to last long enough to
their older models so customers will seek to upgrade to the
develop a customers lasting need. It is also designed to
latest version. This has become more prevalent with electronic
convince the customer that the product is a quality item, even
products, as it is easy to schedule a software upgrade to
though it will eventually need replacing. In this way, when the
initiate the process.
product fails the customer will want to buy another up-to-date
model. You can argue whether this is morally right or wrong, Apple is possibly the most recent and famous company
but many many companies have been using this practice for caught doing this. In 2017 it was forced to admit that is was
years. deliberately slowing down its older models. It was eventually
Obsolescence can also determined by fashion, material, fined €25 million in Europe for doing so.
technology or improvements in manufacturing techniques.
These however would not be seen as planned obsolescence,
but through natural progression, and be part of product
innovation and invention.
 6.1: Classic design: Mass production.

How the role of mass production contributes to a product reaching classic design status.

Mass production is a term used to describe the bulk manufacturing technique of products that have little or no customisation. The
set up costs for mass production are high because it usually involves extensive, and expensive mechanisation and automation.
The total cost per unit is lower though as less labour is required and materials can be sourced in larger quantities for less cost.

Mass production contributes to a product reaching classic design status:

For many centuries prior to the Industrial Revolution, "classic" evoked thoughts of artistry and craft skills,
for example, classical architecture and furniture. The start of mass production and "designing for the
masses" often meant a reduction in quality of products and poor design.

However, once mass production techniques became more established some designers embraced the
opportunities offered by the new techniques and materials as a way of providing people with well-
designed products at an affordable price due to the cost-effectiveness of production

Mass production
Made the product affordable/ many units were produced/to meet
demands
the product was widely seen/ made the product become ubiquitous

Mass production: The production of large quantities of a standard article - often using the assembly line technique.
 6.1: Classic design: Ubiquitous/Omnipresence.
How the constant presence of a product in the market place or in the minds of consumers can lead to classic design
status.
A classic design often has a constant presence, (omnipresence / universal / ubiquitous) in a rapidly changing context.

When a product becomes part of our everyday lives, we become very familiar and comfortable with it’s presence and style. By
becoming an integral part of our lives, we start to attach emotions, feelings and positive connections with that product.

When a product or design is so commonplace in our lives, it almost becomes unnoticeable. It has achieved ubiquitousness or
omnipresence. It has done this by usually being the market leader in its sector. We even use specific brand names to call a
whole group of products, “can you pass me a sticky note please” - Sticky Note is a brand name, but has now become so
omnipresent in our culture that it is used as a name for a whole range of different companies products - can you name any
others?

When a product becomes so embedded into our lives, demand for that product will continue even when new products with better
functions enter the marketplace. This continued demand for the product when newer alternatives are available afford the product
classic design status.

Omnipresence
The product has existed/been in circulation a long time
It was designed in 19…..
And its still widely available today

Ubiquitous / Omnipresence: Present, appearing, or found everywhere.

6.1: Classic design: Dominant design.

How classic designs are dominant in the marketplace and hard to change.

A dominant design possesses implicit features that become recognized as essential by a majority of manufacturers and purchasers.
For example, ballpoint pen (Biro), Apple® iPod® and Coca-Cola®. Classic designs are dominant in the marketplace and difficult to
change.
When a “classic design” has become dominant in the market place it can be
difficult to change, or replace. Apart from the original functions or particular
features that made the product a “classic” in the eyes of the consumers, an
emotional connection could have been made between the user and the product,
making the design even more dominant in the market.

Dominant design
Has all the features to be essential
Became the standard of all similar products

Dominant design
Contains features that are recognized as essential
Became embedded in our life/dominates the
marketplace/imitated by other companies
Demand for the product continues even when new
products enter the market.

Dominant design: Is the emergence of a product that possesses a particular feature or features that consumers deem essential.
Lessons Overview-Topic 6.2:

Check Prior knowledge (Brainstorming map on board): 5

minutes
Group work- in groups students will investigate the following: 15
Form follow function videos distributed on student to build a Minutes
Reinforce learning 80
Lecture (covering the following content): Minutes
○ How retro-styling a new product needs to respect and understand the original form and underlying structure before making
changes.
○ The tension between form and function when developing new products based on a classic design.
○ Comparison of retro-styled products with the original production models in relation to form and function.
○ Identify products where either practical function or psychological function has been the determining factor in the design.

Closure 10
-Class discussion and revision minutes
Homework
Assessment objectives
Assessment objective 1
-Define List/state two characteristics of classic design that are well represented in “the
(Give the precise meaning of a word, product”
phrase, concept or physical quantity)
-State
(Give a specific name, value or other
brief answer without explanation or
calculation.)
Assessment objective 2
-Outline Outline how retro-styling also considers the development of new technology
(Give a brief account or summary )
Outline the importance of there being a compromise in relation to Form and
Function

Outline the relationship between ‘image’ and retro styling

 Assessment objectives
Assessment Objective 3
-Explain Explain the impact of the “product” Practical Function and
(Give a detailed account including reasons or Psychological Function on its overall design
causes.)
Discuss the concept of conflict and compromise in terms of the
form of the shows

Explain the impact the form of the “product” had on its function
 6.2 Classic design, function and form.

Concepts and principles: Content:

1. Form versus function. ○ How retro-styling a new product needs to

2. Retro-styling. respect and understand the original form and
3. Conflict and compromise. underlying structure before making changes.
4. Practical function versus psychological function. ○ The tension between form and function when
developing new products based on a classic
design.
○ Comparison of retro-styled products with the
original production models in relation to form
and function.
○ Identify products where either practical function
or psychological function has been the
determining factor in the design.
 6.1: Classic design: Form versus function.
Not all classic designs are based on aesthetic appeal as the primary generator for the idea. For example, the designers of many early examples
of mass production motor cars that are now considered "classics" were more interested in function than form.
Although the American architect, Louis Sullivan was the first person to use the phrase form follows function in the late 1890’s, the more
prominent and practical origins of the term are to be found in the ideologies of The Bauhaus School of Art and design. The products designed at
the Bauhaus can provide us with excellent examples of the success, and often conflict, between the concept of form follows function. pieces
were designed to be mass produced, simple lines and minimal decoration were key.

Form follows function is particularly prevalent in architecture, and there are many famous examples, but it can been seen throughout the
design world. There are many products and designs out there where their shape (form) is dictated by its purpose (function).
The balance between function and form is often a difficult area for designers to achieve. If a product is purely functional, it may be lacking
in visual appeal to consumers, no matter how good it is at its job. Often we are drawn to products that have been developed with form as its
primary consideration - here is the tension between form and function in design.

While you may not readily recognise the name of Dieter Rams, you will be very familiar with the his designs, or the designs he has directly
inspired. Rams is a very influential designer of the modern age, and is a great proponent of form follows function ideal.

Form follows Function: meaning that the result of design should derive directly from its purpose.
6.1: Classic design: Form versus function.

The Volkswagen (VW) Beetle, designed by Ferdinand Prosche in the 1930s,

was aimed at ordinary people with a modest income and Porsche
economized on many features considered as standard and necessary today,
such as rear windows. Sir Alec Issigonis designed the first Mini motor car to
be as economical and functional as possible and priced so it was affordable
by the majority of working people in the late 1950s.

The aesthetics of a product are embedded in its form, and we are often drawn or attracted to it because of its inherent beauty, perhaps over-
looking its functional attributes.
Form can be dictated by other functions such as the way in which humans need to interact with objects. The interaction may be classified into
three aspects: assembling the object either during manufacture (design for manufacture) or at home (self-assembly), using it, and repairing or
maintaining it (design for disassembly).
6.1: Classic design: Retro-styling.
Retro styling uses the form and decoration of classic designs from a particular time and/or
style. Retro styling builds on the classic image but can often involve the use of new technology
It also uses the emotional connection consumers have with that design to “draw in” customers to
its product or design.
Designers will try to “tap in” to the positive associations people have with a classic design with
the hope that they will share these with their new design. Retro styling will often involve new
technology or materials, and therefore be an improvement on the original. The Artisan electric scooter incorporates modern “green”
technology in its product, but it has taken its design cues
directly from the Vespa scooter of the 1960’s. The classic
lines, styling details and colour scheme of the Artisan are
there to deliberately reassure the consumer with an image or
style they are comfortable with. Artisan are creating this
“comfort” to introduce a technology that the consumer may
not be used to, or familiar with. Why is this a good idea?
Designers may base their ideas on a product from the recent past, attempting to
modernise the product yet still capturing the original form and function that made
it so successful.
New materials, technologies or manufacturing processes make it possible to
realise design features or characteristics that were not available when the original
product was produced. Designers however, need to be respectful of the original
designer’s intent, and even if technically things could be vastly improved, they
must not chance the original form to much that it becomes unrecognisable from VW are releasing a new electric version of their iconic design classic,
the original. For example, the Mini Cooper. It was important to keep the car small, VW camper van. Why have they decided to use these design cues
playful and cute. A whole generation had grown up with the original Mini, at its and classic lines for an obviously new, high tech and innovative
retro-styling remake needed to capture the same emotion and appeal to this product?
generation a second time around.
 6.1: Classic design: Conflicts and compromise.
“Designers traditional find themselves trying to perform a balancing act between conflicting design parameters; weight versus strength, speed
versus quality, efficiency versus complexity, or efficiency versus cost, to name a few common trade-offs”.

The human psyche appreciates beauty. The aesthetics of a product are embedded in its form, and often we can be drawn or
attracted to it because of its inherent beauty, perhaps even over-looking its functional flaws. The Starck designed Salif juicer, a
classic design, has a high aesthetic value, its form is celebrated yet its function is poor. The MT49 teapot by Marianne Brandt
completely stripped the ornate decoration that was very popular in 1924, presenting it as purely functional product. Not a
commercial success when first introduced, it has gone on to be widely considered a classic design. Roxy Lo worked with engineers
to bring curves to bicycles - her 2007 Ibis Mojo frame functioned well and was beautiful when compared to others in the market at the
time. Other manufacturers very quickly followed by updating the aesthetic appeal of their bicycle frames.

Conflict and compromise can occur during the

development stage of the product. Teams of
specialists comprising of ergonomists,
engineers, materials engineers and product
designers etc are involved in the development of
modern products. Form over function may be an
important aspect of the design for some
members, while for others it may be function
over form. Other considerations design teams
may need to consider would be cost, materials,
price point, target market etc, all can cause
design conflict and may require compromise.
6.1: Classic design: Practical function versus psychological function.
Products can often be characterised by whether a practical function or psychological function was the determining factor in its design.

Practical function is mostly concerned with criteria related to
performance of the product, such as dimensions, weight, ease
of use etc. These are quantifiable and as a result an objective
evaluation can be carried out. Such aspects are quantifiable
and objective evaluation can take place.
Psychological function is mostly concerned with the different
emotional reactions or attachments people have with products,
such as mobile phones or their favourite brands.

The practical function of a The psychological function of a

product is determined by the product is determined by the emotional
rational nature of the design - the response users get from the design.
logical and well reasoned Design decisions made by the designer
approach to its design. Decisions will evoke a variety of psychological
made by the designer will responses. From either being part of a
determine the user's perception group (Apple) or feels that make you
of usability and durability. happy when using the product.

Practical function meets Psychological function - The rational meets emotional.

When practical function forms the designers primary goal, the interaction with the object can become intuitive. Intuitive design will
have a number of redeeming features: affordance, expectation, efficiency, responsiveness, forgiveness, explorability, emotional
security. A product can transcend its practical function to also meet the psychological needs of its users by evoking emotions -
aesthetically pleasing objects appear to the user to be more effective, by virtue of their sensual appeal. This is due to the affinity
the user feels for an object that appeals to them, due the emotional connection they have with that object. The object itself my not
be the best functioning product of its class, but people will overlook these flaws - think of Apple products… not always the
greatest, but people love them.
6.1: Classic design: Practical function versus psychological function.

For some products the practical function dictates the form, for example, the Angle poise lamp designed by UK engineer George
Carwardine in 1947. Carwardine was interested in an apparatus that could move easily through three planes but would be rigid
when left free. It was many years before Carwardine worked on this concept as a versatile "arm" for focusing light on an object.
Although Carwardine made no particular effort to make his lamp an object of beauty, its clean and functional form has established
the Angle poise lamp as a design classic.
The Juicy Salif lemon squeezer, designed by Philip Starck in 1990 and produced by the Italian company Alessi, is an example of
how the psychological function dictates the form of an object.
The design was conceived on a napkin while Starck enjoyed a dish of squid in a restaurant and was squeezing lemon over it.
Starck is quoted as saying that his juicer is less concerned with squeezing lemons than as a conversation starter. An example of
Starck's lemon squeezer is on display in the New York Museum of Modern Art.
Topic 6-Revision guide
Topic 6-Terminology