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The Language of Design (Die Sadiqi 2015)
"The Language of Design" is a book about design worth reading. It not only provides readers with rich design cases and in-depth analysis, but also guides readers to form correct consumption concepts and design thinking methods.
Edited at 2024-11-03 21:17:54- Rumi 10 despertares espirituales de alta dimensión
Rumi: 10 dimensiones del despertar espiritual. Cuando dejes de buscarte, encontrarás todo el universo porque lo que estás buscando también te está buscando. Cualquier cosa que haga perseverar todos los días puede abrir una puerta a las profundidades de su espíritu. En silencio, me metí en el reino secreto, y disfruté todo para observar la magia que me rodea y no hice ningún ruido. ¿Por qué te gusta gatear cuando naces con alas? El alma tiene sus propios oídos y puede escuchar cosas que la mente no puede entender. Busque hacia adentro para la respuesta a todo, todo en el universo está en ti. Los amantes no terminan reuniéndose en algún lugar, y no hay separación en este mundo. Una herida es donde la luz entra en tu corazón.
- Fisiopatología - insuficiencia cardíaca
¡La insuficiencia cardíaca crónica no es solo un problema de la velocidad de la frecuencia cardíaca! Es causado por la disminución de la contracción miocárdica y la función diastólica, lo que conduce al gasto cardíaco insuficiente, lo que a su vez causa congestión en la circulación pulmonar y la congestión en la circulación sistémica. Desde causas, inducción a mecanismos de compensación, los procesos fisiopatológicos de insuficiencia cardíaca son complejos y diversos. Al controlar el edema, reducir el frente y la poscarga del corazón, mejorar la función de comodidad cardíaca y prevenir y tratar causas básicas, podemos responder efectivamente a este desafío. Solo al comprender los mecanismos y las manifestaciones clínicas de la insuficiencia cardíaca y el dominio de las estrategias de prevención y tratamiento podemos proteger mejor la salud del corazón.
- Fisiopatología - isquemia - lesión por reperfusión
La lesión por isquemia-reperfusión es un fenómeno que la función celular y los trastornos metabólicos y el daño estructural empeorarán después de que los órganos o tejidos restauren el suministro de sangre. Sus principales mecanismos incluyen una mayor generación de radicales libres, sobrecarga de calcio y el papel de los leucocitos microvasculares y. El corazón y el cerebro son órganos dañados comunes, manifestados como cambios en el metabolismo del miocardio y los cambios ultraestructurales, disminución de la función cardíaca, etc. Las medidas de prevención y control incluyen eliminar los radicales libres, reducir la sobrecarga de calcio, mejorar el metabolismo y controlar las condiciones de reperfusión, como baja sodio, baja temperatura, baja presión, etc. Comprender estos mecanismos puede ayudar a desarrollar opciones de tratamiento efectivas y aliviar las lesiones isquémicas.
The Language of Design (Die Sadiqi 2015)
- Rumi 10 despertares espirituales de alta dimensión
Rumi: 10 dimensiones del despertar espiritual. Cuando dejes de buscarte, encontrarás todo el universo porque lo que estás buscando también te está buscando. Cualquier cosa que haga perseverar todos los días puede abrir una puerta a las profundidades de su espíritu. En silencio, me metí en el reino secreto, y disfruté todo para observar la magia que me rodea y no hice ningún ruido. ¿Por qué te gusta gatear cuando naces con alas? El alma tiene sus propios oídos y puede escuchar cosas que la mente no puede entender. Busque hacia adentro para la respuesta a todo, todo en el universo está en ti. Los amantes no terminan reuniéndose en algún lugar, y no hay separación en este mundo. Una herida es donde la luz entra en tu corazón.
- Fisiopatología - insuficiencia cardíaca
¡La insuficiencia cardíaca crónica no es solo un problema de la velocidad de la frecuencia cardíaca! Es causado por la disminución de la contracción miocárdica y la función diastólica, lo que conduce al gasto cardíaco insuficiente, lo que a su vez causa congestión en la circulación pulmonar y la congestión en la circulación sistémica. Desde causas, inducción a mecanismos de compensación, los procesos fisiopatológicos de insuficiencia cardíaca son complejos y diversos. Al controlar el edema, reducir el frente y la poscarga del corazón, mejorar la función de comodidad cardíaca y prevenir y tratar causas básicas, podemos responder efectivamente a este desafío. Solo al comprender los mecanismos y las manifestaciones clínicas de la insuficiencia cardíaca y el dominio de las estrategias de prevención y tratamiento podemos proteger mejor la salud del corazón.
- Fisiopatología - isquemia - lesión por reperfusión
La lesión por isquemia-reperfusión es un fenómeno que la función celular y los trastornos metabólicos y el daño estructural empeorarán después de que los órganos o tejidos restauren el suministro de sangre. Sus principales mecanismos incluyen una mayor generación de radicales libres, sobrecarga de calcio y el papel de los leucocitos microvasculares y. El corazón y el cerebro son órganos dañados comunes, manifestados como cambios en el metabolismo del miocardio y los cambios ultraestructurales, disminución de la función cardíaca, etc. Las medidas de prevención y control incluyen eliminar los radicales libres, reducir la sobrecarga de calcio, mejorar el metabolismo y controlar las condiciones de reperfusión, como baja sodio, baja temperatura, baja presión, etc. Comprender estos mecanismos puede ayudar a desarrollar opciones de tratamiento efectivas y aliviar las lesiones isquémicas.
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- Outline
The language of design (Die Sadiq/2015)
Chapter 3: Consumer Culture
1. Design and luxury
1. Conspicuous consumption: "The Theory of the Leisure Class" (Veblen/1899) mentioned that designed objects are not used to make life comfortable, but to show the ability and appreciation of owning them. Designed objects need to be presented in an appropriate manner. The way to show its value is to show the group to which the owner belongs.
2. Simplicity, attention to detail, and low-key are the themes. The simple shape does not allow the maker's mistakes because there is no room for error. Only the truly wealthy will not show their wealth to gain confidence.
3. Luxury provides people with opportunities for respite amid constant material threats.
4. The relationship between luxury and craftsmanship:
(1) Industry means standardization, and technology means complexity and effort.
(2) If the production is not difficult, it is not luxurious, but people's eyes and hands have become accustomed to the sophistication of machine products, so the perfect definition of a craftsman has been replaced by another appearance. (Examples: deliberately making machine products imperfect to reflect quality, hand-binding books has changed from a skill to a way of expressing oneself, film photography, analog recording, etc.)
(3) Cost formula: The luxury car uses the most original parts, suggesting that it may belong to the past but looks very modern. ——Low-priced cars have high machine costs and low labor/design costs; high-priced cars have low machine costs and high labor/design costs.
2. Design and fashion
1. The definition of fashion
(1) Fashion is a serious force that combines noble culture and popular culture. The main focus is on sex, status, and power.
(2) Fashion can combine and use other forms of visual culture to change people's understanding of art and design. It promotes a society based on fame and popularity in various ways, constantly showing signs of consuming traditional culture.
2. The purpose of fashion design: taking into account the needs of the younger generation without alienating old customers, attracting new elites, potential customers and media, in order to maintain relations with the wider world, attract the attention of the public, and increase influence. (Example: The British royal family allows celebrities and civilians to participate in garden tea parties, knighting ceremonies and various etiquettes)
3. Fashion is a symbol
(1) Symbols of status between groups represented by fashion often switch. (Example: Ultra-low-waist trousers were originally worn by prisoners, but now they have become popular among young people)
(2) Military uniform: It reflects the contradiction of fashion. On the one hand, it needs to express oneself, and on the other hand, it desires identity. (Need to be recognized by friends and avoid enemies)
(3) Fashion is a way of conveying information, implying power and status.
(4) Fashion reflects state authority. (Suits became the international dress code in the 19th century)
(5) The import of exotic styles is a kind of cultural tourism and passive consumption for local people, but it will attract non-mainstream cultural groups who regard themselves as independent-minded and do not like fashion.
3. Design and Art
1. Design is turning ordinary things into art (commercial art)
(1) Practicality is inversely proportional to status (artistic). The more useless something is, the more it will be cherished, and the status of something that is carefully crafted will be more noble. (Example: The reason why "Red and Blue Chair" is less valuable than the contemporary painting "Red, White and Blue Composition Painting" is that Veblen's "Theory of the Leisure Class" revealed that people value useless things, while chairs are inherently useful as a design of)
(2) Design shapes and beautifies daily objects, reminds people of the world beyond practicality, and embodies the emotional characteristics of objects.
2. The history of chairs represents the history of design: chair design is a combination of practicality and power status (artistic). It also reflects the development of science and technology, production technology and aesthetics, and each chair work can be regarded as a personal expression of the designer. A manifesto of design approach.
3. The relationship between art and design
(1) Art has become a source of visual inspiration for other creative fields because of its high moral character.
(2) The contradiction between art and design lies in the contradiction between the original image and the reproduction (Andy Warhol).
(3) Art is a language of design, and design also shapes the behavior of artists due to participation in art. However, from the result, artwork is criticism and design is transaction.
(4) The contemporary desire is to produce designs that become art, or even industrial products that are abstracted from material considerations, but design itself is the product of the industrial system. To a certain extent, design criticism and getting rid of the system that creates the design itself become a contradiction, just like Advertising criticizes the idea of advertising.
(5) The concept of design and practical thinking reflect designers’ desire to strive for a higher status, and uselessness in design is the most suitable trait, so designers all want to become artists.
4. Conversion between design (useful) and art (useless)
(1) The theme of design is to transform the status of things. (Example: Rietveld's "Red and Blue Chair" shows that furniture design no longer implies a person's status - because it has no decoration or ostentatious materials, it has a new understanding of beauty and comfort, and it seems to be just a chair made by ordinary woodworking)
(2) The reincarnation of style: The behavior of the elite leads to imitation by the masses, and the imitation behavior of the masses will lead to the rejection of the elite class and extreme opposition, forming a cycle of reincarnation of style.
(3) The higher the price, the lower the practicality and thus the more useless. Once practical things become collectibles, people will not dare to use them in life.
(4) The most useless design works are often the most valuable. (Examples: wrong edition stamps among collectors, unproduced prototypes, etc.)
(5) Bulletization and limited balance: "good temper chair" (Arad), gap across art and design, pursue batch production and unique creation.
Chapter 1: Language
1. Design and Desire
1. Design products themselves are guiding, creating consumer desire just like advertisements.
2. Baudrillard proposed that design is the result of the materialization of middle-class values. Design makes sensory functions give way to culturally determined functions. (Example: The interior layout determines functional zoning due to design)
3. Design has always been used to create desire. Even Newson’s work (a critique of induced consumerism) is based on American consumer culture, and this culture inspired the design of the previous generation.
2. Idealism, business celebrities, government design
1. Idealism: Morris (eliminate machinery, restore handicrafts), Dietrams (eliminate visual burdens, be intellectually precise, defeat fashion, overcome the passage of time, and pursue eternal existence)
2. Business celebrities: Raymond Lowe, Philippe Starck (unique colors, hyper-realistic proportions, cute personification, deconstructed material language and symbolism of meaning)
3. Government design: Government design for the welfare of the public may be counterproductive: after World War II, the British government distributed so-called rationally designed furniture to bombed families, which later caused people's complete opposition to modern design, and their impression of modern design remained material. Deprivation and deprivation, and the “good taste” that the privileged impose on those of lower status in a superior attitude.
3. The essence of design
1. The traditional definition of design has changed with the integration of man-made objects (players, radios, cameras integrated into one).
2. Design should face the multiple definitions of objects and understand the contradiction between function and symbol.
3. Rogers: "As long as you look carefully at a spoon, you can know what the architecture of this society looks like." - Design is the source code that embodies contemporary society, reflecting how objects are made and their symbolic meaning. The point is not whether these works use The same elements, shapes and colors, but the essence of its design thinking and the methods used.
4. Symbolism of design
1. How the text is composed, structured, and designed provides another layer of information beyond the literal content. (Escher: "Had the Germans not liked capital letters, they would not have fallen into fascism")
2. Humanistic design: Italian designer Sottsass’ orange-red portable typewriter “valentine” (pictured) helped the company transform from office supplies to a consumer goods manufacturer.
picture:
Chapter 2: Prototype
1. What is a prototype?
1. The prototype carries the historical context and experience of the times, conveying its function in appearance, and wrapping the design symbols with contextual experience so that users can understand how to operate it at a glance.
2. Prototypes bring ready-made history to the design, triggering memories, reassurance and familiarity.
3. The prototype is a signal for understanding the design, using all the senses to tell people how to move in the building, how to control the switches, the keyboard as a communication tool, the meaning of colors, gender orientation, etc.
2. Create prototypes
1. The appearance must convey its function, and people can understand how to operate it at a glance. It is understood because of the use of decoration, color, shape and ritual. These properties of the old age control our relationship with the physical world and are also our Interactive elements with virtual worlds.
2. Postmodernity: Reorganize the archetypal elements of the context and oppose the complete abandonment of history and memory by modernism.
(1) Sottsass (Memphis/1980): Deliberately destroying order and coherence, mixing elegance and vulgarity, focusing on emotional practicality.
(2) Naoto Fukasawa: Adjust the prototype to give it a modern meaning, rather than innovate for the sake of novelty.
3. “Prototype product”: a design that can be understood at a glance
1. "anglepoise" table lamp (George Cavaldine): The exposed structure contains operability hints (pictured), using insight and design skills to shape the user's sensory perception of the object and provide clues on how to use it; in addition In addition to functionality, it also emotionally depicts a craftsman spirit dedicated to creation, including the ticking sound of the switch suggesting the connotation of "do not disturb".
2. "tizio" table lamp (Sapper): Black changes the properties of household items, implying the important status of the items.
3. Black and red embellishment - "Walser ppk pistol": black and red represent a strong emphasis on warning, danger and function (pictured).
4. Bayesian rotary telephone (Heilberg/1930): Every component of the rotary telephone is familiar to people. The earliest telephone in history was composed of a hand box, a transmitter and a receiver, and the rotary telephone had a They bond together. Because it is clear at a glance, the shape of the rotary phone itself has become a symbol of communication and a symbol of the telephone.