Unit 6: Classic Design

• Classic design


  A timeless quality, recognized and remains fashionable. Not simply defined by how well it functions or its impact. Can be recognized as from their design movement/era. Originality, whether evolutionary or revolutionary, seems to be the trait that makes a product "timeless".
• Design Classic


  A product that serves as a standard of its time, that has been manufactured industrially and has timeless appeal. It serves as a standard of its time, despite the year in which it was designed, is still up to date and remains relevant to future generations and in this way has a lasting impact on society. The design resists the vagaries of taste and fashion and once established as a "classic" it gradually acquires further value.
• Design classics


  • Characterized by simplicity, balance, is still up to date and usually innovative in their use of material. Often they unite technological advances with beautiful design.
• Design classics


  • Apple products such as the iPod, the Coca-Cola bottle and soft drink cans
• To ensure sustained success over an extended period of time, design classics


  Must not only address functional and aesthetic requirements but also an emotional connection with the user/owner.
• Examples of design classics


  • Fender Telecaster, Eames Lounge chair and Ottoman, Porsche 911
• Image (in the context of classic design)


  The instantly recognizable aesthetics of a particular product. The classic design is instantly recognizable and provokes emotional reactions.
• Often referred to as "iconic", the longevity of classic designs suggests quality and the continued demand for such products is not dependent on heavy marketing or advertising, although this often takes place to reinforce the status and remind new generations of consumers of the intrinsic value of the classic design.
• The design is often widely imitated, usually with cheaper versions, so this reinforces the status of the original design and its "pioneering" concept.
• Status and culture (in the context of classic design)


  Classic design defies obsolescence and transcends its original function. Classic designs are often recognised across culture and hold iconic status. The iconic status of classic design is often attributed to them being breakthrough products, products that set new standards or new meanings.
• Status (in the context of classic design)


  Products considered as classic designs often increase in value and can project a certain status as they become more desirable. The ownership of a classic design can increase the perceived status of an individual.
• Culture (in the context of classic design)


  They often reflect cultural influences and mark transition points within a particular culture. The culture of concern may be national, religious or a sub-culture, such as a particular youth culture or movement.
• Obsolescence


  A product that is no longer produced or used or out of date. Classic designs tend to transcend obsolescence and become desired objects long after they have ceased to be manufactured.
• Planned obsolescence


  When a product is deliberately designed to have a specific product cycle, usually a shortened life span. The product is designed to last long enough to develop a customer's lasting need. The product is also designed to convince the customer that the product is a quality product, even though it eventually needs replacing.
• Obsolescence can be determined by fashion, technology, materials, construction techniques.
• The classic design may no longer be needed as a functional object or it may become technologically obsolete. However, it may still sell very small numbers although it may no longer be viable to produce it commercially. In such circumstances the resale value of existing products increases enormously as the number of products available lessens over time. Such products become very collectable and have investment value, for example, classic cars.
• Mass production


  The bulk manufacture of products that have little or no customisation. The setup costs for mass production are high because it usually involves extensive mechanisation and automation. The total cost per unit is lower though as less labour is required and materials can be sourced in larger quantities for less.
• Ubiquitous/omnipresence (in the context of classic design)


  A classic design often has a constant presence, or omnipresence, in a rapidly changing context. When an object becomes part of our everyday lives, we become very familiar and comfortable with it's presence and style. The product becomes part of our life and we start to attach emotions, feelings and experiences to the product. The continued demand for the product when newer alternatives are available afford the product classic design status.
• Dominant design


  The design contains those implicit features of a product that are recognized as essential by a majority of manufacturers and purchasers. When classic design is dominant in the market-place it can be difficult to change. Apart from the functional or particular feature that is so appealing to the user, emotional issues can impact. Users are often reluctant to change, they are happy with the product and can not see any advantage in changing.
• Classic design


  The product becomes embedded in our life, therefore the demand for the product continues even when new products with better function enter the market
• Dominant design


  • The design contains those implicit features of a product that are recognized as essential by a majority of manufacturers and purchasers
• When classic design is dominant in the market-place


  It can be difficult to change
• Emotional issues


  Users are often reluctant to change, they are happy with the product and cannot see any advantage in 'up-grading' or changing to a later model
• Form


  The three-dimensional space that a product takes up, in the context of classic design, form relates to the shape of a product and the aesthetic qualities that the shape gives
• Function


  How well a product fulfils the task that it has been designed for
• Form versus function


  The result of design should derive directly from its purpose
• Bauhaus School


  • Embraced 20th century machine culture in a way that allowed basic necessities like buildings, furniture, and design, to be completed in a utilitarian but effective way
  • Emphasized a strong understanding of basic design, especially the principles of composition, color theory, and craftsmanship, in a wide array of disciplines
• Retro-styling


  Uses the form and decoration of classic designs from a particular period of time and/or style, but can involve the use of new technology
• Retro-styling a new product


  Needs to respect and understand the original form and underlying structure before making changes
• Retro-design


  Often mimic a product or past experience to evoke feelings of nostalgia, and may also use an old format to meet a new demand
• For the Mini Cooper it was important to keep the car small, playful and cute as a whole generation had grown up with the original Mini, and its retro styled remake needed to capture the same emotion to appeal to this generation a second time around
• Comparison of retro-styled products with the original production models

  In relation to form and function
• Practical function


  Determined by the rational - the logical or well reasoned approach to its design, decisions by the designer or user will determined by the objects usability and reliability
• Psychological function


  Determined by the emotional responses, the 'needs and wants' driven by fads, fashion and technological trends, decisions by the designer or the user will evoke psychological responses-personal identity, the narrative of 'me' and relate to the desirability of the object or space
• Practical function forms the designers primary goal

  The interaction with the object can become intuitive, with features like affordance, expectation, efficiency, responsiveness, forgiveness, explorability, emotional security
• Aesthetically pleasing objects


  Appear to the user to be more effective, by virtue of their sensual appeal, due to the affinity the user feels for an object that appeals to them, forming an emotional connection
• Classic Design Products


  • Anglepoise 1227 Lamp
  • Thonet's No14 Bistro Chair
  • Philippe Starck's Juicy Salif Citrus Juicer
  • Eames ottoman chair
  • Fender Telecaster
  • Marianne brandt tea pot
  • Mini Classic
  • Sony XDR-S16DBP digital clock radio