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. The definition of fashion

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. Design is turning ordinary things into art (commercial art)

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

4. Conversion between design (useful) and art (useless)

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.

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.

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.

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.

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.

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. "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.