Design revolutions - A short history of design
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A presentation we've been giving regularly on why design thinking and service design exists. Now and through the ages of professionalised design to an open series of tools and methods for organisations to put people first.
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Design revolutions - A short history of design
- 1. | HISTORY OF DESIGN Revolutions in design From industrial revolutions to government services
- 2. | HISTORY OF DESIGN Industrial design Product design Design thinking Embedding design Interaction design Graphic design Interior design Service design
- 3. "An industrial revolution, a revolution which at the same time changed the whole of civil society" - Friedrich Engels (the condition of the working class in England 1844) | HISTORY OF DESIGN
- 4. The Great Exhibition - Friedrich Engels (the condition of the working class in England 1844) | HISTORY OF DESIGN
- 5. Industrialisation | HISTORY OF DESIGN
- 6. “All manufactured products are the result of a design process, but the nature of this process can take many forms: it can be conducted by an individual or a large team; it can emphasize intuitive creativity or calculated scientific decision-making, and often emphasizes both at the same time; and it can be influenced by factors as varied as materials, production processes, business strategy and prevailing social, commercial or aesthetic attitudes.” - Heskett, John on Industrial Design | HISTORY OF DESIGN
- 7. Arts and Craft movement Rebellion against the age of mass production. A return to traditional craft methods and ‘romantic’ forms of decoration. | HISTORY OF DESIGN
- 8. Raymond Loewy and industrial design | HISTORY OF DESIGN
- 9. Louis Sullivan, founding father of modernism (Wainwright building) | HISTORY OF DESIGN
- 10. “It is the pervading law of all things organic and inorganic, of all things physical and metaphysical, of all things human and all things superhuman, of all true manifestations of the head, of the heart, of the soul, that the life is recognizable in its expression, that form ever follows function. This is the law.” - Louis Sullivan, architect | HISTORY OF DESIGN
- 11. Form follows function Descriptive: beauty results from purity of function; Prescriptive: aesthetic considerations in design should be secondary to functional considerations. | HISTORY OF DESIGN
- 12. Ornamentation is crime | HISTORY OF DESIGN
- 13. Bauhaus | HISTORY OF DESIGN
- 14. The Design Council | HISTORY OF DESIGN
- 15. 15 Britain Can Make it / Festival of Britain | HISTORY OF DESIGN
- 16. "an illustrated record of contemporary achievement in British industry", showing "the high standard of design and craftsmanship that has been reached in a wide range of British products." | HISTORY OF DESIGN
- 17. Design Research Unit | HISTORY OF DESIGN
- 18. Hille Form by material and manufacturing innovation | HISTORY OF DESIGN
- 19. Starke Juicy Salif | HISTORY OF DESIGN
- 20. Co-design and planning in Canada | HISTORY OF DESIGN
- 21. Experience Economy | HISTORY OF DESIGN
- 22. DOTT, RED Design Council | HISTORY OF DESIGN
- 23. SILK | HISTORY OF DESIGN
- 24. The Whitehall effect Front to back office and the value of tasks | HISTORY OF DESIGN
- 25. Government Digital Service | HISTORY OF DESIGN
- 26. Gov.uk | HISTORY OF DESIGN
- 27. “Users don’t care about the structure of government. They don’t care which department does this or agency does that. They don’t care about your process. They just want to do what they need to do, get stuff done, and get on with their lives. Users have needs - our job in government is to build services that meet those needs.” - Stephen Foreshew-Cain (GDS) | HISTORY OF DESIGN
- 28. Building the organisation to deliver | HISTORY OF DESIGN
- 29. Embedding Design | HISTORY OF DESIGN
- 30. Design Thinking Everyone is a designer | HISTORY OF DESIGN
- 31. “I spend most of my working day typing and inputting services plans, filing, etc., all admin tasks.” The British Association of Social Workers and Social Workers Union | HISTORY OF DESIGN
- 32. ADMINISTRATION COSTS US PEOPLE We have created systems that don’t solve problems. They create more work, cost us more to run and take us away from the frontline | HISTORY OF DESIGN 32
- 33. “Burton and van den Broek espouse the belief that social workers should be involved in the design and application of the technology, as well as being provided with appropriate ongoing training. They go on to quote and applaud Sapey’s (1997) contention that: . . . unless social workers do become involved in the ways in which new technologies are used within organisations, they will fail to influence its impact on their clients and may further fail to control the way in which computers affect the nature of social work itself in the future’” Burton and Van Der Broke | Sapey (1997) | HISTORY OF DESIGN
- 34. Here’s my top five IT fix requests: 1. Use standard usernames Each system appears to require its own type of login. My usernames include hoggda80645, david.hogg. dhogg, hoggd, hoggd80927, DHOGG, 80927hoggd and david. Add to that inconsistent passwords (some requiring uppercase, some not allowing uppercase, others needing punctuation). Solution: we need this to be standardised. The NHSnet email address is a good place to start for a username or alternatively couldn’t we use the registration number - GMC, NMC, HPCC? The username ‘gmc123456’ makes a lot more sense. | HISTORY OF DESIGN
- 35. Skills Development Scotland Embedding design to work across the agency
- 36. Principles: Empathy Prototyping Visual Story telling People Centered | HISTORY OF DESIGN
- 37. | HISTORY OF DESIGN
- 38. Service Design is the design of services | HISTORY OF DESIGN
- 39. “A service is any activity of benefit that one party can offer to another that is essentially intangible & doesn’t result in the ownership of anything. Its production may or may not be tied to a physical product” - Philip Kotler via Andrea Siodimok | HISTORY OF DESIGN
- 40. End to end experience Before, during and after | HISTORY OF DESIGN
- 41. Every touchpoint, interactions on every channel | HISTORY OF DESIGN
- 42. Front to back, back to front, inside and outside the organisation | HISTORY OF DESIGN
- 43. Ensuring that organisations and systems deliver and have the capacity to do so | HISTORY OF DESIGN
- 44. REVOLUTION IN DESIGN {A SHORT HISTORY} SARAH DRUMMOND Founder and Director sarah@wearesnook.com
Notes de l'éditeur
- The Industrial Revolution was the transition to new manufacturing processes in the period from about 1760 to sometime between 1820 and 1840. This transition included going from hand production methods to machines, new chemical manufacturing and iron production processes, improved efficiency of water power, the increasing use of steam power, the development of machine tools and the rise of the factory system. Textiles were the dominant industry of the Industrial Revolution in terms of employment, value of output and capital invested; the textile industry was also the first to use modern production methods.[1] The Industrial Revolution began in the United Kingdom and most of the important technological innovations were British. The Industrial Revolution marks a major turning point in history; almost every aspect of daily life was influenced in some way. In particular, average income and population began to exhibit unprecedented sustained growth. Some economists say that the major impact of the Industrial Revolution was that the standard of living for the general population began to increase consistently for the first time in history, although others have said that it did not begin to meaningfully improve until the late 19th and 20th centuries.[2][3][4] At approximately the same time the Industrial Revolution was occurring, Britain was undergoing an agricultural revolution, which also helped to improve living standards.
- The Industrial Revolution was the transition to new manufacturing processes in the period from about 1760 to sometime between 1820 and 1840. This transition included going from hand production methods to machines, new chemical manufacturing and iron production processes, improved efficiency of water power, the increasing use of steam power, the development of machine tools and the rise of the factory system. Textiles were the dominant industry of the Industrial Revolution in terms of employment, value of output and capital invested; the textile industry was also the first to use modern production methods.[1] The Industrial Revolution began in the United Kingdom and most of the important technological innovations were British. The Industrial Revolution marks a major turning point in history; almost every aspect of daily life was influenced in some way. In particular, average income and population began to exhibit unprecedented sustained growth. Some economists say that the major impact of the Industrial Revolution was that the standard of living for the general population began to increase consistently for the first time in history, although others have said that it did not begin to meaningfully improve until the late 19th and 20th centuries.[2][3][4] At approximately the same time the Industrial Revolution was occurring, Britain was undergoing an agricultural revolution, which also helped to improve living standards.
- Six million people—equivalent to a third of the entire population of Britain at the time—visited the Great Exhibition. The average daily attendance was 42,831 with a peak attendance of 109,915 on 7 October.[5] The event made a surplus of £186,000 (£18,370,000 in 2015),[6], which was used to found the Victoria and Albert Museum, the Science Museum and the Natural History Museum. They were all built in the area to the south of the exhibition, nicknamed Albertopolis, alongside the Imperial Institute. The remaining surplus was used to set up an educational trust to provide grants and scholarships for industrial research; it continues to do so today.[7]
- For several millennia before the onset of industrialisation design, technical expertise and manufacture lay together in the hands of individual craftsmen, who determined the form of a product at the point of its creation according to their own manual skill, the parameters set by their clients, the experience accumulated through their own experimentation and traditional knowledge passed on to them through training or apprenticeship.[6]
- The role of an industrial designer is to create and execute design solutions for problems of form, function, usability, physical ergonomics, marketing, brand development, and sales.[7] Industrial design is a process of design applied to products that are to be manufactured through techniques of mass production.[2][3] Its key characteristic is that design is separated from manufacture: the creative act of determining and defining a product's form and features takes place in advance of the physical act of making a product, which consists purely of repeated, often automated, replication
- The Arts and Crafts movement was an international movement in the decorative and fine arts that began in Britain and flourished in Europe and North America between 1880 and 1910,[1] emerging in Japan in the 1920s. It stood for traditional craftsmanship using simple forms, and often used medieval, romantic, or folk styles of decoration. It advocated economic and social reform and was essentially anti-industrial.[2][3][4] It had a strong influence on the arts in Europe until it was displaced by Modernism in the 1930s,[5] and its influence continued among craft makers, designers, and town planners long afterwards.[6]
- As the Great Depression started in 1929, several dozen creative individuals from a variety of artistic fields, including theatre, advertising, graphics, fashion and furniture design, pioneered a new profession. Responding to unprecedented public and industry demand for new styles, these artists entered the industrial world during what was called the “Machine Age,” to introduce “modern design” to the external appearance and form of mass-produced, functional, mechanical consumer products formerly not considered art. The popular designs by these “machine designers” increased sales and profits dramatically for manufacturers, which helped the economy to recover; established a new profession, industrial design; and within a decade, changed American products from mechanical monstrosities into sleek, modern forms expressive of the future.
- IInterpreting “Form Follows Function” Link There are two ways to interpret the phrase “form follows function”: Descriptive: beauty results from purity of function; Prescriptive: aesthetic considerations in design should be secondary to functional considerations.
- While sometimes attributed to sculptor Horatio Greenough, the phrase “form follows function” was coined by American architect Louis Sullivan. In his 1896 article, “The Tall Office Building Artistically Considered,” Sullivan wrote: “It is the pervading law of all things organic and inorganic, of all things physical and metaphysical, of all things human and all things superhuman, of all true manifestations of the head, of the heart, of the soul, that the life is recognizable in its expression, that form ever follows function. This is the law.” At the time, technology, tastes and economics were rapidly changing. The forms of late-19th century buildings were still being worked out, based on innovation going all the way back to ancient Greek and Roman architecture. It was clear to Sullivan that a new form for buildings was needed, and he thought that form ought to come from the function of a building, not historical precedent. This new form became the modern structural steel skyscraper.
- IInterpreting “Form Follows Function” Link There are two ways to interpret the phrase “form follows function”: Descriptive: beauty results from purity of function; Prescriptive: aesthetic considerations in design should be secondary to functional considerations.
- In 1908 Austrian architect, Adolf Loos proclaimed that architectural “ornament was a crime” (PDF). Modernist architects such as Le Corbusier, Walter Gropius and Mies van der Rohe adopted both “ornamentation is crime” and “form follows function” as moral principles and applied them to design. The two phrases do not mean the same thing though. “Form follows function” allows for ornamentation as long as it serves a function. Still, modernism in architecture emerged from both principles. Its goal was to determine the form of a building solely from functional requirements and not traditional aesthetics.
- The Bauhaus school of art and architecture in early 20th century Germany was the birthplace of a revolution in modern design. Founder Walter Gropius' form-follows-function philosophy transformed advertising, typography, architecture, people's living spaces, and the public's aesthetic expectations in fundamental ways.
- The Design Council started on 19 December 1944 as the Council of Industrial Design (COID), founded by Hugh Dalton, President of the Board of Trade in the wartime Government.[19] And its objective was 'to promote by all practicable means the improvement of design in the products of British industry'. S. C. Leslie, the Council's first director, played an important part in the Britain Can Make It exhibition of 1946. It was 1947 successor Sir Gordon Russell who established the organisation's model for the next 40 years. Under Sir Paul Reilly in the early '70s, the organisation changed its name to the Design Council in 1972.[20][21][22][23] The Design Council was incorporated as a registered charity by Royal Charter in 1976,[6][24]:12 although it continued to operate as a non-departmental public body.[24]:50 In December 1994 it underwent a restructuring,[23] which resulted in its function being changed from being both an advisory body and a provider of goods and services to being primarily strategic, with a mission “to inspire the best use of design by the United Kingdom in the world context, in order to improve prosperity and wellbeing”.[20][25] On 1 April 2010 it incorporated a subsidiary trading company called Design Council Enterprises Limited[26] to transact “fundraising activities that are not primary-purpose charitable activity.”[27] On 1 April 2011, it ceased to be a non-departmental public body of the Department for Business, Innovation and Skills and became an independent registered charity, although it continued to receive grants from the Department.[3]:5[24][28] It also officially merged with the Commission for Architecture and the Built Environment (CABE) on the same day[29] although Design Council CABE was incorporated four days earlier.[30] DOTT Challenges
- Britain Can Make It was an exhibition of industrial and product design held in London in 1946.[1] It was organized by theCouncil of Industrial Design, later to become the Design Council.[2]
- The South Bank Exhibition included a Design Review, that presented "an illustrated record of contemporary achievement in British industry", showing "the high standard of design and craftsmanship that has been reached in a wide range of British products."[3] The exhibits were based on the stock list of the Council of Industrial Design (CoID), chosen for appearance, finish, workmanship, technical efficiency, fitness for purpose and economy of production.[3]The Festival was an influential advocate of the concept of "Good Design", a rational approach to product design in accordance with the principles of the Modern Movement. Its advocacy had grown partly out of the standards of utility furniture created during the war (Gordon Russell, the Director of the CoID, had been Chairman of the Utility Furniture Design Panel) and partly out of the CoID's Britain Can Make It exhibition of 1946. The CoiD's stock list was retained and inherited by its successor, the Design Council.
- The Design Research Unit (DRU) was one of the first generation of British design consultancies combining expertise in architecture, graphics and industrial design. It was founded by the managing director of Stuart Advertising Agency, Marcus Brumwell with Misha Black and Milner Gray in 1943.[1] It became well known for its work in relation to the Festival of Britain in 1951 and its influential corporate identity project for British Rail in 1965.[2] In 2004, DRU merged with Scott Brownrigg architects.[3]
- Furniture designer Robin Day, who has died at the age of 95, lived to become a legend in his own lifetime. Day created the world's first Polypropylene chair, fondly known as the "Polyprop", one of the best-selling stacking chairs of all time – 14 million and counting – widely used up and down the land in schools, cafés and village halls. Originally launched by Hille in 1963, it is still going strong in various forms today, literally so, as it is remarkable for its durability as well as its understated visual sophistication.
- Starck's Juicy Salif citrus squeezer for Alessi caused controversy in the 1990s when it was first produced because it looked beautiful but was not at all practical for squeezing fruit. Alessi says that the project was deliberately poking fun at the idea that form should follow function.
- The Co-Design Group is an informal association of architects based in Vancouver and Calgary who come together to conduct community workshops for the design of urban spaces. Founded in 1979 the group has conducted over 300 public design workshops mostly in the revitalization of inner-city areas and small towns throughout British Columbia and Alberta. The group co-authored the book Co-Design: A process of Design Participation (VNR, NY, 1989). The Co-Design Group received Honourable Mention by CMHC in 1997 for Work with Youth on Sustainable Development, and received Honourable Mention as Organization of the Year in May 2000 from the International Association of Public Participation. Awarded National Honour by the Canadian Society of Landscape Architects, 2006, for the Calgary Memorial Drive program.
- The term Experience Economy was first described in an article published in 1998 by B. Joseph Pine II and James H. Gilmore, titled "The Experience Economy". In it they described the experience economy as the next economy following the agrarian economy, the industrial economy, and the most recent service economy. This concept had been previously researched by many other authors (see History of the concept). Pine and Gilmore argue that businesses must orchestrate memorable events for their customers, and that memory itself becomes the product — the "experience". More advanced experience businesses can begin charging for the value of the "transformation" that an experience offers, e.g., as education offerings might do if they were able to participate in the value that is created by the educated individual. This, they argue, is a natural progression in the value added by the business over and above its inputs.[1] Although the concept of the Experience Economy was born in the business field, it has crossed its frontiers to tourism, architecture,[2] nursing, urban planners and other fields. The Experience Economy is also considered to be the main underpinning for customer experience management.
- Healthcare needs a shake-up to handle the rising tide of chronic disease. RED Paper 01 Health: Co-creating Services sets out a new vision for healthcare in which users take a key role in shaping the services they receive.
- Why don’t public services work very well? One key reason is that they have been 'industrialised'. Part 1 explains why call centres, back offices, shared services, outsourcing and IT-led change almost always lead to service failure. It explains, in particular, why 'economies of scale' are a myth. Part 2 proposes a better (and tried-and-tested) alternative to the alienating and unresponsive experience of industrialised public services. Good services are attuned and sensitive to peoples’ needs. Where the 'industrialised' approach tries to drive down costs but invariably drives them up, the better approach – managing value – drives costs down significantly. Part 3 challenges conventional thinking and received wisdom about public services. Targets, inspection and regulation have to be part of the solution, don't they? Seddon explains why they're actually part of the problem and shows that the most effective lever of change and improvement is to stop 'managing' the people (public sector staff and managers) and start managing the system they work in. - See more at: http://www.triarchypress.net/the-whitehall-effect.html#sthash.CLgxKqzt.dpuf
- Users don’t care about the structure of government. They don’t care which department does this or agency does that. They don’t care about your process. They just want to do what they need to do, get stuff done, and get on with their lives. Users have needs - our job in government is to build services that meet those needs.
- Users don’t care about the structure of government. They don’t care which department does this or agency does that. They don’t care about your process. They just want to do what they need to do, get stuff done, and get on with their lives. Users have needs - our job in government is to build services that meet those needs.
- Design council reported a 10% growth in in-house design 2010 Analternative view of design accepts that the end of the process is not known at the outset; designis‘enquiry’,and during the enquiry the problem and the solution co-evolve.—LucyKimbell