Conceptual design is far from as simple and easy as it looks. From it's fundamental expression of concept, to its ability to intelligently capture people through simplicity. From far away, this monument appears to be a child-like house, maybe something that Tim Burton would have in one his movies. Inside is the waiting area, where people can see that the whole structure is punctured with holes, and the flat walls sum up to a 3-dimensional structure. The waiting area for a high speed train in Japan, a conceptual design presented in its simplicity, like the Vuitton building (below), an optical illusion.
It does not follow any form of instructional guide, and artistic freedom is left to the designer. There needs to be an underlying objective of the design, something that the designer is seeking to accomplish. After the concept is defined and established, carefully paying attention to the context of the social and physical environment in which it will be employed, you can begin to understand user rules and requirements. After this, you mitigate the constraints with the objectives, and you have a plan.
The ability to express complicated ideas through the most simple and functional form is essential to a conceptual designer. Even in fine art, all innovations of post-modern and modern art are of conceptual creation. We can look to cubism as a developed concept, presented in its simplicity, yet able to express a complicated thought process. Add to this dadaism, expressionism, and even well-done modern industrial design processes, like the IPOD. Others argue that good, intelligent design is visually complicated, whose synchronization and implementation is only brought upon by the best designers. I refute this claim, because while these "visually complex" designs may or may not have a concept behind them, the designer plays the luck of the draw in finding out if some concept can be luckily found through making things complicated. A conceptual designer begins with the complicated concept and then seeks to simplify it to the extent of reaching all people.
The beauty of conceptual designs are that they are simple and intense, exactly what good design should be, in my eyes. While others see good design in intricate patterns (see Li Xi), and the ability to interweave complicated rhythms, conceptual design expresses an artistic right that the designer has. It is because of the fact that the concept usually predicates the user requirements, and because of the bold nature of this idea, that conceptual design opportunities are usually only given to those accomplished designers.
Listening to John Coltrane.
Shin-Yatsushiro Monument: Conceptual Design Was Bad?
Li Xi Envelopes: Asian Tradition with Western Flair
In the interest of christmas, which is right around the corner, I offer this bit of traditional familiarity (I have subcontinent asian in me), and I introduce to you a design team from the US. These cards are reminiscent of when I was a child, and instead of getting presents at all events, I would get money. I think it's more an Asian trend than an American trend, but I'm not sure. Anyway, these cards remind me of the delicate rice paper envelopes and enclosures that the money would come in. In fact the curly di-cuts and "handy" work somehow trigger memories of old indian ladies writing, in Hindi, the amount outside of the envelope. This can lead me to entirely other blog posting, the design of languages as form not content. Maybe tomorrow.
What are we losing in this product, in this design? What is the western flair? It is, of course, the birth of Henry Ford. Ok, what I mean is, mass production. You see, the most beautiful aspect of the traditional asian envelopes is the fact that you know that it is hand made. It smells of sweat, uniqueness, and authenticity. These envelopes smell of burns from the laser that cut them. There is something great to be said about authenticity and handy craft. The sheer nature of receiving a gift enveloped in something that took such intense concentration, planning, and experience to create provides incentive for the receiver to hold on to the envelope, even display it on their desks and bookshelves for years to come. EVEN, admit to using it to re-gift to another! What about when you can order them online, and have them delivered in less than 24 hours? What about when they are cut with the precision afforded only by the technologies of our creation and not by the creative and skilled minds from the traditional roots from which they come? It looses its uniqueness and its authenticity, it becomes something merely as a vessel for distribution, no more valuable than the toilet tissue that sits in your restrooms.
I add that these are an asian creation (ha!), because the couple who designed them and are marketing them on their website are asian themselves, and you can find out about them by clicking on the title of this blog. I think it is really cute that they are a couple and collaborate on their projects. A harmonious system of production, at least I hope so.
Aesthetically, these envelopes are wonderful for giving to others. The rear of the envelopes have a beautifully crafted intricate pattern that is appeasing through its symmetrical nature. The texture and colors of the envelope hint at a more sophisticated form of presentation, helping lend a sense of intent when used as a gift. The face of the envelope uses the familiar patterns from the rear to draw the environment in which the story of the pig (or dolphin?) kissing the flower takes place.
Listening to Portishead