Tag Archive for 'design'

Mickey Mouse shaped tomatoes

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We are separated from nature. We feast on the resources of nature, but unlike previous generations of mankind, we are not connected with nature anymore. We eat boneless (fishless?) fish-sticks with no resemblance what so ever with the fish it’s supposed to contain, tomatoes all year round (shaped like Mickey Mouse if you fancy) and precut animal parts originating from a part of the animal people wouldn’t be able to pinpoint if you put a gun to their head. We live with a distorted echo of nature, as close to nature as Disney Land is to being a country. Much the same way as video-gamers and retired pilots remote controlling bomb planes in Afghanistan while sipping coffee in Nevada, we carelessly inflict harm, not because we don’t care, but because we’re visually and therefore emotionally detached from our actions.

I like to think of myself as a politically aware consumer, e.g. I always buy the ecological eggs because — though a little more expensive — it helps my appetite, and I feel like I’ve done a little good. I’m sure a lot of you have small conscience boosting habits of such nature. However, after a weekend of watching Yann Arthus-Bertrand’s Home, as well as Robert Kenner’s recently premiered Food Inc., I have a feeling that — though applaudable — thinking about the chickens isn’t quite enough. We have to think bigger — much bigger, as in planet-size big, and I’m not talking about Planet Hollywood here. To be able to turn this thing around, it’s essential that thinking about the environment becomes more than a trend among champagne socialists — or a lifestyle for the odd Greenpeace activist or two — this has to become mandatory for passing the decent person test.

The problem with tying the survival of our ecosystem up on this dental-floss string of hope however, is that most people forget to think about these things because they aren’t reminded to, there’s simply no reason why they should change their lifestyle based on theories dully expounded by god denouncing scientists when no effect of this so called global warming is visible. In my opinion, we should expand this discussion from being primarily elitist, and start relinking us city dwellers and nature, facing people with the implications of their actions, and hopefully make them reconsider the way they consume before the environmental implications start splashing at the gates. Since I’m hesitant to dropping the whole city idea, a more subtle — yet plausible — way of making this reconnection could be to implement a graphical peephole of information regarding the product we’re purchasing, and its effects on the environment — i.e. giving transparency. These things have to be presented easily digestible, so that it takes no effort to understand the points presented. To illustrate the sort of transparency I’m talking about, here is a cropping from a visualization in GOOD Magazine on the amounts of water we use, directly as well as indirectly. For example, it takes up 1,500 gallons of indirect water use to create one pound of beef, while filling a bath tub takes approximately 35 gallons of direct water use.

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Visualized this way (do click on the above image to study the full visualization), I am able to effortlessly decode the presented knowledge on my water footprint, and worth noting this is knowledge that presented in a scientific report wouldn’t have gotten the slightest glimpse from this pair of blue eyes. I suggest implementing this sort of transparency on the products we buy, by putting information on the environmental effects of a product, on the product — just as you would put an image caption under the image it relates to, not in the back of the book where no one would find it.

It’s not a new idea to put information on packaging — if for example you buy a piece of meat, you’ll be able to read on the packaging that it’s ecologically produced (unless of course it isn’t, that doesn’t sell meat so no reason to waste ink on that), the weight of the meat, which country it was produced in (unless it was produced in an unfavorable country, in that case we skip that part as well), and if they’re nice they might even tell you how many minutes to cook it. Companies tell the part of the truth that sells — which is quite reasonable really, people do it all the time as well, e.g. you wouldn’t start a conversation with a nice gal by telling her about your freshly picked up STD. But telling a story about a happy, green grass fed, massaged, Mozart listening cow, when you’re really selling lumps of miserable, grey soy bean eating, meat chopper listening cow, is like bragging about your new two storey loft apartment, truth being you live with your mom. And I’m not saying that it’s not okay to live with your mom — even considering that you’re 35 years old, and can’t sleep until she feeds you warm milk with honey, while gently stroking your forehead — I’m just saying you shouldn’t tell stories that aren’t true. And the same thing applies to companies, and since certain companies for obvious reasons try to stay non-transparent, the curtain has to be pulled up by someone in a higher place, so that we as consumers can judge from facts — not fiction — whether we want to buy the product.

To a full overview on GOOD Magazine’s Transparencies series, click here.

For a wonderful project on the rising water levels caused by global warming, projected directly onto the walls of Bristol, England; click here.

On the effects of middle fingers, temples and well shaped artifacts

When we make various gesticulations towards each other, we more often than not get a response from the attended recipient, rooted in the emotional response invoked by the lonely middle-finger, or friendly wave. They might even wave back at you, with their middle finger or open hand, dependent on your gesticulation. Mass and form of human material moves us; dependent on our varying cultural background we find certain proportions in a human face beautiful, we react on facial expressions dependent on the combination of activated muscles and tall guys are more likely to be successful in a job-interview. I reckon the vast majority of people would agree on this.

If we look at mass and form in dead material – such as bricks and mortar – we similarly react emotionally dependent on shape, and cultural connotations bound in that specific shape. When we enter a church – mosque, synagogue, temple, whatever rocks your boat – chances are even an atheist will notice a certain energy bound in the structure of that space. It doesn’t even have to be as monumental as places of prayer, smaller does it as well – just think of your home, a classroom or a nightclub. We have expectations of certain behavioral patterns for places with a certain positional correlation between the bricks and mortar it consists of. Some infuse a feeling for safety, others are places of authority. Undoubtedly some of the effect is caused by the cultural values we give certain spaces, a courtroom for example is a place of authority. But I am convinced that the mere form of the space has an effect on the functions and values we expect of it as well, and that our behavior varies dependent here on. As an example, imagine a courtroom in an old nightclub. Or to spice things up – a nightclub in an old courtroom. Sounds like a party I’d attend. I’d try to avoid the courtroom though, even one situated in an old nightclub. I’d think most people would agree this far.

Now, why is it that people seem to think that it’s any different for things smaller still – such as a well shaped wineglass or a neatly designed lamp. Of the people I’ve met in my relatively short life-span, the vast majority seem painfully uninterested in good design. When people are aware of the effects public spaces in varying shape possess, why do they care so little about what ought to be the most important space for them – the temple of tranquility and peace they call their home, and the objects and artifacts they surround themselves with in it. Beautiful, intelligent design conjures thoughts of equal measure – in my opinion it’s worth the money.

Fancy Goods

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Why, look at the sweet whale butter boat.

Reading the great Bruno Munari’s thoughts on fancy goods in his book Design as Art from 1966, it reminded me how much I hate objects that take the shape of artifacts – and sometimes even animals – with absolutely no relevance to the function of the object. It’s for the same reason I stopped reading Swissmiss. I quite simply couldn’t handle all the adorable whale shaped butter dishy things, sorry Swissmiss, appreciate the effort.

Here’s an excerpt from Bruno Munari’s original writings on the subject.

These are certainly not objects produced by designers, for designers do not have such raging imaginations. They confine themselves to making candlesticks that look like candlesticks. But look, what have we here? An antique gun hung on the wall as a hatstand, with a row of hooks soldered along the barrel. Or an enormous key with smaller hooks, for hanging real keys on. A cigarette lighter in the shape of a revolver, a revolver in the shape of a cigarette lighter. An umbrella like a pagoda, a table-lamp made of a clarinet (likewise, a trumpet), with a lampshade of sheet-music: take your choice, The Barber of Seville or The Magic Flute….I say, let’s buy a pipe that is really a pipe, let’s fill it with real tobacco, light a match that looks like a match and works like a match, and apply it to the pipe-pipe. Let us have a cup of coffee in a cuplike cup on a table-table near our chairlike chair, and read a good book-book.

If you feel like reading Munari’s brilliant book-book containing the above cited text and much more like it, you’re looking for Design as Art and you can find it here.