John Haskett’s discussion on design parallels the progression of topics in class. Haskett begins his introduction to “what is design?” by explaining what it is not or what it is commonly believed to be. Haskett clearly identifies design as a necessity for human life and progress rather than a pursuit of trivial human wants and desires. In doing so, he points out the intrinsic values of design and the responsibilities of the designer. He further reinforces the importance of design by pointing out that the human ability to design and manipulate its environment is evidence of human intelligence which makes us unique among all species.
Haskett’s conclusion regarding the intrinsic need and ability of humans to design leads to a history of design as it corresponds to human evolution. He shows that design does not necessarily involve the creation of a new object or idea but can involve the evolution of an object/idea based on the needs of its user. The design of a stone tool made as an extension of the human body, to one shaped to imitate human limbs for functional purposes, to variations of the same object with different material made to withstand the test of function, to an object molded to exceed function and incorporate desire; Haskett’s examples prove the evolution of design alongside human evolution. As the prehistoric man made its way into the industrial age, it no longer needed objects or ideas that are designed to only meet his needs and necessities but those that combine his human needs with his desires and wants. Therefore, designers are faced with the question of “what is function in design?”
As Haskett explains, function can be viewed in terms of either utility or significance. While utility involves the necessities that correspond to the exact physical and utilitarian function of the designed object or idea, significance entertains the desires, emotions, and metaphysical values that the user anticipates in a designed object or idea. Haskett points out that while a design may be focused on either utility or significance, the majority of design solutions embody a combination of both to satisfy their purpose or function.
The design process through which utility is achieved can vary greatly based on the design problem at hand and the preferences of the designer. Haskett uses the design process to differentiate between various fields of design. His focus on object identifies the profession of Industrial Design as one concerned with the design of various objects in our environment. He further argues for the design of object as both an investigation of the functions and purposes it serves and as the creative outlet of its designer. Haskett raises the question of balance in design which I believe is unique to each designer and project.
Haskett’s discussion of communication involves the role of the visual communication designer. He delves into the role of two dimensional design in society starting with advertising and continuing to the extremes of propaganda. It is important to note that while many assume that graphic representation is a universal language for visual communication, the cultural ramification of such assumptions should be considered before finalizing any design decisions. Like any language, the visual signs and symbols used in one culture can evoke difference or opposing meanings in another.
Haskett opens his discussion of interior space design by comparing the visual cues of the environment to those of the 2 dimensional media used in visual communication. Designed environments are manipulated by interior space designers to send predetermined sensory signals that affect our perception of the environment which we many times refer to as atmosphere. Residential and commercial spaces are designed to respond to the needs and wants of their users and we experience these design environments on a daily basis.
Haskett’s discussion of design and its evolutions is very well organized and comprehensive. I’ve enjoyed reading the first portion of the book and look forward to reading the rest.
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