Max web design

2 Comments Written by Robert on May 26, 2008 – 1:39 am

Good design was a 1960s movement that aimed to replace subjective opinion based on taste with strict objective criteria and promote the international competitive ability of German companies and their products.

Design developments such as the one called Gute Form (Good Design) in the Federal Republic of Germany were symptomatic of the approach to evaluating design in design-oriented countries in Europe during the 1960s.

Their different names, for example Bel Design in Italy, point to the different ways they processed this still new development and to what degree they were involved with it. In the Federal Republic of Germany, the 1960s were characterized by the Wirtschaftswunder (economic boom) that swept away the postwar era’s economic, political, and social chaos. Even Professional Web Design New York had found its place. The post-style era that saw the heterogeneous mixing of old Bauhaus virtues with the search for new forms, the long with short-lived, the dignified with kitsch and the peculiar was to be consigned to the past.

Taste alone was no longer enough. Good design was to be anchored in the minds of the people. Max Bill (Ulm School of Design) coined the term in 1949 for a traveling exhibition by the Schweizerischer Werkbund (Swiss Work Federation). It became established and, equipped with additional features, reached its peak in the 1960s. Subjective taste was replaced by strict, supposedly objective criteria. Design was now more closely associated with industry. Industrial mass production dominated the rapidly accelerating complexity of the goods and products maze.

There was a need for evaluation criteria and this was something that every New York Web Designer and company could agree oneven if their motives differed. Industry was looking for objective arguments in order to give credibility to their products despite arbitrariness and similarity (USP) and to improve their marketability, and saw design evaluation as a possibly decisive factor (Design Management). The designers, on the other hand, once again saw an opportunity to establish their ideas about the true definition of good design. Three interrelated forces shaped design in the 1960s: the increasing mechanization of production, the evaluation of design using universally accepted criteria, and education.

The motives were of course not only social or cultural but there were also real economic considerations. The goal was to improve the image and international competitiveness of German companies by utilizing good design like New York Web Design. This awareness of design led to significant government- backed schemes for funding design. Academies of design were established or expanded and, in addition to the Rat für Formgebung (German Design Council) established in 1953, other regional design centers were opened.

Consumer organizations were formed that promoted good product design and contributed to the increasing number of design competitions established both by government institutions and private enterprise. The unstoppable belief in general objective evaluation criteria for good design soon grew to become a strict design codex.

Products, whose design was evaluated by various juries, had to prove themselves using this evaluation structure and eventually a distinctly German, good product design formula was established. An identifiably German style (even if German designers vehemently rejected this concept) could be recognized and was characterized by being reserved in appearance, functional in use, serious, reliable, rectangular, gray, black, or white, reduced to precise, technically necessary detailsthat was the ideal look of the products that matched the good design charter. Products by Braun AG were seen as a byword for good design (which was also the title of the most prestigious German design competition established in 1969) and consistently won awards (Design Awards).

The design brief for the radio and phonograph combination (especially the radio and record player combo SK 4, dubbed Snow White’s Coffin), which had been initiated in 1955 by Hans Gugelot, a teacher at the Ulm School, was taken up and continued by Dieter Rams, the next Head Designer at Braun, and he expanded it to apply to the design of other products. Objects like the first all-wavelength portable radio, the World Receiver T 1000 (1963), the electric dry shaver, the sixtant (1962), the electric food processor, KM 32 (1964), or the tabletop cigarette lighter, TFZ 1 (1966)note the technical and ambiguous product names based on the Germanare legendary and have long since become costly cult and collector’s items.

In other words, what happened was exactly what the advocates of objective, universal criteria for good design wanted to avoid. Good design is just as timeless, subjective, and emotional as any other movement. Ultimately, it is a trend and, at best, eventually becomes a retro design classic.

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