Science, Semiotics and Society: The Ulm Hochschule fur Gestaltung in Retrospect

Betts, Paul

doi:10.2307/1511852

Cited by 11 publications

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“…Some decades later, the tension between teaching style and teaching style creation was also at the heart of the debate that occurred at Ulm Hochschule für Gestaltung (Institute for Design) between the first director Max Bill and his successor Tomas Maldonado (Betts 1998). For Maldonado, 'Bill's venerable "good form" itself becomes just another design style among many'.…”

Section: Tension Between Teaching Style and Teaching Style Creationmentioning

confidence: 99%

“…Still, this could also be interpreted as an extension of the logic of style to the interaction between the object and its environment. At the end of the 1960s, 'even the supposedly anti-aesthetic ethos of functionalism had become just another supermarket style, as the Braun design story attested' (Betts 1998). Here again the tension between style teaching and teaching style creation was a critical issue.…”

Section: Tension Between Teaching Style and Teaching Style Creationmentioning

confidence: 99%

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Design theory at Bauhaus: teaching “splitting” knowledge

2015

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Section: Tension Between Teaching Style and Teaching Style Creationmentioning

confidence: 99%

Section: Tension Between Teaching Style and Teaching Style Creationmentioning

confidence: 99%

Design theory at Bauhaus: teaching “splitting” knowledge

2015

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“…Nesnenin tarihten ve kültürden dışlandığı Bauhaus estetik teorisine karşı 1955'te Ulm Tasarım Okulu'nun açılışında Bill, kültürün gündelik yaşamın her alanında ve gündelik nesnelerin biçimlerinde yaşatılması gerekliliğini ifade eder; Bill'e göre savaş sonrası tasarımın temel amacı hayatı bir sanat eserine dönüştürmede yardımcı olmak bu yolla ahlaki yenilenmeyi toplumun her alanında sağlamaktır (Betts, 1998). Maldonado ise Bill'in idealizmini daha bilimsel bir endüstriyel tasarım lehine reddeder ki bu daha sonraları Bense'in semiyotik estetik teorisini geliştirmesinin yolunu açar (Betts, 1998). Bense analitik argümanlarla estetiği kültürden ayırıp bilimsel kriterlere dayandırmaya çalışır, modern dünyanın teknik uygarlığının ve endüstrileşen estetiğin kesişim noktasında endüstriyel tasarımın ayrıcalıklı bir konuma sahip olduğunu iddia eder (Betts, 1998).…”

Section: Modern Dönemde Endüstriyelunclassified

“…Maldonado ise Bill'in idealizmini daha bilimsel bir endüstriyel tasarım lehine reddeder ki bu daha sonraları Bense'in semiyotik estetik teorisini geliştirmesinin yolunu açar (Betts, 1998). Bense analitik argümanlarla estetiği kültürden ayırıp bilimsel kriterlere dayandırmaya çalışır, modern dünyanın teknik uygarlığının ve endüstrileşen estetiğin kesişim noktasında endüstriyel tasarımın ayrıcalıklı bir konuma sahip olduğunu iddia eder (Betts, 1998). Bense'e göre tasarımcıların doğadaki nesnelerin davranışlarını inceleyen modern bilim insanları gibi yetiştirilmeleri ve sosyaliletişimsel ürünleri semiyotiğe dayanarak analiz etmeleri gerekir (Betts, 1998).…”

Section: Modern Dönemde Endüstriyelunclassified

Geçmişten Günümüze Endüstriyel Tasarım Eleştirisine Genel Bir Bakış

Yavuz¹

2022

TasKur

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Although the industrial design is a relatively new profession, design activity itself precedes all other professions. The practice of making valuable objects is one of the main characteristics attributed to the human race. This immanent in human, utility-based practice has often been the target of Marxist criticism after it emerged as a commercial activity with the industrial revolution.The main criticisms targeting the industrial design are intrinsically directed towards the capitalist mode of production, which is the reason for the existence of the activity and the natural consequences of this mode of production. Surprisingly, these criticisms are neglected in the expectation of a unilateral benefit from industrial design, which can only be possible in a non-tradable design activity. The industrial designer is expected to neglect the requirements of mass production and serve only for the user's benefit.After its institutionalization as a profession, industrial design justifies its existence as improving quality of daily life by creating machine-made objects that satisfy human needs and desires. Similarly, improving social welfare by throwing open objects accessible to everyone, which is only possible through industrial production that increases productivity and reduces costs, is one of the promises of modern capitalism.In the study, how the industrial design, whose raison d'être is to behoove people to raise the quality of life, is accused of hiding relations of production, indirectly ravaging nature through-provoking consumption by manipulating individuals in the way of serving capitalism is discussed in the context of developments in design history and its repercussions in critical theory. The critics are categorized into three historical processes: early modern period, modern period, and post-modern period. Literature is approached with a historical understanding by considering the social, cultural, economic, and scientific developments that affect the activity. The early modern period refers to the period in which discipline emerged as a commercial activity; the modern period refers to the period when activity is recognized as a profession. The post-modern period refers to the period after the paradigm shift in the field.It is possible to say that the critique of industrial design in its early modern period was generally oriented towards the social effects of the division of manual and mental labor under the influence of Marx's theory of alienation and the dehumanized aesthetics of machine products. On the other hand, it is claimed that the plainness and functionalist forms caused by the mode of production bring class inequalities into view. According to critics, capitalists, realizing the tension created by machine production, first try to ornament mass-produced products to hide the production relations that become visible in consumer products. After a while, they create a new aesthetic approach claiming that function is a prime mover that determines the evolution of products. With the Bauhaus movement, in...

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“Well-Designed Relations”: Cold War Design Exchanges between Brussels and Moscow in the Early 1970s

Serulus

2017

Design and Culture

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Science, Semiotics and Society: The Ulm Hochschule fur Gestaltung in Retrospect

Cited by 11 publications

References 0 publications

Design theory at Bauhaus: teaching “splitting” knowledge

Design theory at Bauhaus: teaching “splitting” knowledge

Geçmişten Günümüze Endüstriyel Tasarım Eleştirisine Genel Bir Bakış

“Well-Designed Relations”: Cold War Design Exchanges between Brussels and Moscow in the Early 1970s

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