디터람스의 디자인 10원칙에 대한 글을 봤다. 애플의 디자인과 비교한 내용도 있었는데 좋은 디자인은 서로 닮기 마련이고 서로 모방 및 재창조를 하기 마련이다. 전자제품 디자인 중에
BRAUN과
TEFAL 디자인이 가장 맘에 들던데 BRAUN의 디자인 철학이 남달랐던 모양이다. 물론
APPLE은 말할 것도 없겠지만. 좋은 디자인 제품을 보고 있으면 왠지 가슴이 뭉클해지고 행복해지는 건 어쩔 수 없다.
디터람스의 디자인 10원칙좋은 디자인은 혁신적이다.
(Good design is innovative.)
좋은 디자인은 쓸모가있다.
(Good design makes a product useful.)
좋은 디자인은 아름답다.
(Good design is aesthetic)
좋은 디자인은 우리가 제품을 이해하는데 도움을 준다
(Good design helps us to understand a product)
좋은 디자인은 주제를 넘지않는다.
(Good design is unobtrusive)
좋은 디자인은 정직하다.
(Good design is honest)
좋은 디자인은 오래간다.
(Good design is durable.)
좋은 디자인은 상세한 세부항목의 필연적 결과이다.
(Good design is consequent to the last detail.)
좋은 디자인은 주변환경과 어울어져 있다.
(Good design is concerned with the environment)
좋은 디자인은 단순해야 한다.
(Good design is as little design as possible.)
"좋은 디자인"이란 말에
"좋은 삶"이란 말을 넣어도 뜻이 통할 듯 싶다. 한국의 디자인이 많이 발전했다고는 하지만 여전히 디자인이 경제성으로 인해 뒤로 밀리고 서로 튀고 싶어하는 경쟁때문에 망가지는 걸 보고 있으면 아직도 멀었다 싶다. 디자인이 삶의 일부라고 하지 않나. 좋은 디자인으로 만들어진 것들이 삶의 일부로 자연스럽게 있어야 할 자리에 놓여있다면 지금 우리의 주변은 상당히 아름답고 삶도 행복해질 것 같다.
속된 말로 '경지에 오르면' 세상 그 어떤 것과도 '통'한다는 말은 아직 참인 것 같다.
FT REPORT - HOUSE AND HOME: 'Less but better' (part ii)
FT REPORT - HOUSE AND HOME: 'Less but better' (part ii)
By Dieter Rams, Financial Times
Published: Sep 08, 2007
The fundamental thinking, the design philosophy, if you like, that has influenced me and my fellow designers was summed up in the early 1980s in 10 simple statements. They are a helpful means of orientation and understanding. They are not binding; good design is in a constant state of redevelopment - just like technology and culture.
1. Good design is innovative.
It does not copy existing product forms, nor does it produce any kind of novelty for the sake of it. The essence of innovation must be clearly seen in all functions of a product. The possibilities, in this respect, are by no means exhausted. Technological development keeps offering new chances for innovative solutions.
2. Good design makes a product useful.
The product is purchased in order to be used. It must serve a defined purpose - in both primary and additional functions. The most important task of design is to optimise the utility of a product.
3. Good design is aesthetic.
The aesthetic quality of a product - and the fascination it inspires - is an integral part of the product's utility. Without doubt, it is uncomfortable and tiring to have to put up with products that are confusing, that get on your nerves, that you are unable to relate to. However, it has always been a hard task to argue about aesthetic quality for two reasons. Firstly, it is difficult to talk about anything visual, since words have a different meaning for different people. Secondly, aesthetic quality deals with details, subtle shades, harmony and the equilibrium of a whole variety of visual elements. A good eye is required, schooled by years and years of experience, in order to be able to draw the right conclusion.
4. Good design helps a product to be understood.
It clarifies the structure of the product. Moreover, the product speaks, in a sense. Optimally, the product is self-explanatory and saves you the long, tedious perusal of the operating manual.
5. Good design is unobtrusive.
Products that answer this criterion are tools. They are neither decorative objects nor works of art. Their design should always be neutral; they must not be seen; they must underline their usefulness.
6. Good design is honest.
An honestly designed product must not claim features it does not have - being more innovative, more efficient, of higher value. It must not influence or manipulate buyers and users.
7. Good design is durable.
It is nothing trendy that might be out-of- date tomorrow. This is one of the major differences between well-designed products and trivial objects for a waste-producing society. Waste must no longer be tolerated.
8. Good design is consistent to the last detail.
Thoroughness and accuracy of design are synonymous with the product and its functions, as seen through the eyes of the user.
9. Good design is concerned with the environment.
Design must contribute to a stable environment and a sensible use of raw materials. This means considering not only actual pollution but also the visual pollution and destruction of our environment.
10. Good design is as little design as possible.
Back to purity, back to simplicity.
(출처: Financial Times: http://search.ft.com/ftArticle?queryText=dieter+rams&aje=true&id=070908000845&ct=0)
Dieter Rams
Dieter Rams (born
May 20,
1932 in
Wiesbaden) is a German
industrial designer closely associated with the consumer products company
Braun and the
Functionalist school of industrial design. He is regarded as one of the most influential industrial designers in the 20th century.
After World War II, Rams studied Architecture at the Ulmer Werkkunstschule Wiesbaden as well as learning carpentry. After working for the architect Otto Apel between 1953 and 1955 he joined the electronic devices manufacturer Braun where he became chief of design in 1961, a position he kept until 1995.
Rams once explained his design approach in the phrase "Weniger, aber besser" which freely translates as "Less, but better." Rams and his staff designed many memorable products for Braun including the famous SK-4 record player and the high-quality 'D'-series (D45, D46) of 35mm film slide projectors. He is also known for designing the 606 Universal Shelving System by Vitsœ in 1960.
Many of his designs — wonderfully sleek coffee makers, calculators, radios, audio/visual equipment, consumer appliances and office products — have found a permanent home at many museums over the world, including MoMA in New York. For nearly 30 years Dieter Rams served as head of design for Braun A.G. until his retirement in 1998. He continues to be a legend in design circles and most recently designed a cover for Wallpaper magazine.
It is speculated that Rams' designs have been influential on Jonathan Ive of Apple, Inc., designer of such products as the iMac, iPod, and iPhone.[1]
디터람스(Dieter Rams) 작품 보기[sense datum] - 스티브 잡스에게 배워야 할 10가지...?
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