Trans RINA, Vol 156, Part C1, Intl J Marine Design, Jan - Dec 2014
5. A REVIEW OF INDUSTRIAL DESIGN MANIFESTOS
A manifesto is a published verbal declaration of the intentions, motives, or views of an issue. It accepts a previously published opinion and promotes a new idea with prescriptive notions for carrying out changes that the authors believe should be made. A number of key design manifesto’s will now be presented and reviewed in the context of marine design.
5.1 BAUHAUS MANIFESTO AND PROGRAM (1919)
The aim of the Bauhaus was to bring together the disciplines of
integrated components of a new architecture. To produce unified works of art in which there was no distinction between monumental and decorative art. This was achieved through educating architects, painters, and sculptors to
become independent creative artists.
Resulting in a working community of leading artist- craftsmen, capable of designing buildings harmoniously in their entirety-structure, finishing, ornamentation, and furnishing. The Bauhaus principles involved thorough training in the crafts, acquired in workshops and the indispensable basis for all artistic production. Bauhaus used the craft system structure of masters, journeymen, and apprentices. Another
principle was the constant
contact with leading experts of crafts and industry. The final
principle was dissemination of practice and principles, through exhibitions and other activities.
Walter Gropius [81] stated the manifesto as follows, "The ultimate aim of all visual arts is the complete building! To embellish buildings was once the noblest function of the fine arts;
components of great architecture. Today the arts exist in isolation, from which they can be rescued only through the conscious, cooperative
effort of all craftsmen.
Architects, painters, and sculptors must recognize anew and learn to grasp the composite character of a building both as an entity and in its separate parts.
Only then will their work be imbued with the architectonic spirit which it has lost as “salon art.” The old schools of art were unable to produce this unity; how could they, since art cannot be taught. They must be merged once more with the workshop. The mere drawing and painting world of the pattern designer and the applied artist must become a world that builds again. When young people who take a joy in artistic creation once more begin their life's work by learning a trade, then the unproductive “artist” will no longer be condemned to deficient artistry, for their skill will now be preserved for the crafts, in which they will be able to achieve excellence.
Architects, sculptors, painters, we all must return to the crafts! For art is not a “profession.” There is no essential
sculpture, painting, arts and crafts, as
The utopian definition of the Bauhaus was, "The building of the future", an integration of the arts into unified creative practice. The Bauhaus developed a new type of creative practitioner (designer/artist) with a broad range of academic specialisations and practices. In order to develop these
specialisations and practices, Walter
Gropius, saw the necessity to develop new teaching methods
gradually turn into a workshop". Both
based on arts and craft, "the school will artists and
craftsmen directed classes and creative practice. The objective was to remove any distinction between fine arts and applied arts. Technology and mass production, led to design opportunities that could not be fulfilled by an arts and craft approach. Resulting in a new motto: "art and technology, a new unity". Industrial
Design
principles of mass production were applied to design standards, regarding
both they were the indispensable Design functional and aesthetic
aspects. The Bauhaus workshops produced prototypes for mass production, from a lamp to a complete buildings. In a similar way the Marine Design Manifesto must link Human Systems Integration to Industrial
principles and Naval Architecture. To encourage an integration of these critical areas into a unified design practice for a new generation of vessel designers, marine designers.
5.2 DIETER RAMS: TEN PRINCIPLES FOR GOOD DESIGN
In the late 1970s, Dieter Rams was becoming
increasingly concerned by the state of the world around him – “an impenetrable confusion of forms, colours and noises.” Aware that he was a significant contributor to that world, he asked himself an important question: is my design good design? As good design cannot be measured in a finite way he set about expressing the ten most important principles [82] for what he considered was good design as follows:
Good design is innovative: The possibilities for innovation are Technological
not, by development always offering new
any means, exhausted. is
opportunities for innovative design. But innovative
difference between the artist and the craftsman. The artist is an exalted craftsman. In rare moments of inspiration, transcending the consciousness of his will, the grace of heaven may cause his work to blossom into art. But proficiency in a craft is essential to every artist. Therein lies the prime source of creative imagination.
Let us then create a new guild of craftsmen without the class distinctions that raise an arrogant barrier between craftsman and artist! Together let us desire, conceive, and create the new structure of the future, which will embrace architecture and sculpture and painting in one unity and which will one day rise toward heaven from the hands of a million workers like the crystal symbol of a new faith."
©2014: The Royal Institution of Naval Architects
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