CLASSIC UNIT 6 REVISION What is a “classic” design? ​ ​ It literally means the best of its kind or highest of its class.

A Classic Design or a Design Classic is a manufactured product that has ‘timeless aesthetic appeal’. ​ ​ ​ ​ ​ ​ Regardless in what year or time period it still remains at a high standard. A classic design is instantly recognisable and will provoke different emotional responses.

These could include: desire to need or want it, ‘wow’ factor (innovation), nostalgia, ‘like’ or ‘hate’, etc.

Examples include: mini-coopers, coca-cola bottles, aviator ray ban sunglasses (designed for bomber ​ pilots), angle house lamps, polaroid, eames chair, dieter rams radios and watches/ clocks, Vespa, philippe starck juicer, food processor.

Simplicity, Quality, Widely imitated, iconic status, associating users with another era, Archetype for other products, It has persisted for a long time, Emotional response to , Ubiquity (being everywhere).

You get all the advantages of a modern product, but also a kudos of being associated with a unique era.

Bauhaus designs.

Often the first of its type.

Often referred to as “iconic”, the longevity of classic designs suggests ​ ​ quality and the continued demand for such products is not dependent ​ ​ ​ on heavy marketing or advertising, although this often takes place to reinforce the status and remind new generations of consumers of the intrinsic value of the classic design.

The design is often widely imitated, usually with cheaper versions, so ​ ​ this reinforces the status of the original design and its “pioneering” concept.

The classic design may no longer be needed as a functional object or it may become technologically obsolete. However, it may still sell very small numbers although it may no longer be viable to produce it commercially.

In such circumstances the resale value of existing products increases enormously as the number of products available lessens over time.

Such products become very collectable and have investment value, for example, classic cars. Other products may not intrinsically be worth much money but are valuable to certain owners or collectors, such as toys that have been used and are in poor condition.

Image

❖ Image makes a classic design instantly recognisable and provokes emotional reactions ➢ highly recognisable aesthetics ➢ representation of an external form ➢ evokes emotional attachment ■ examples include the shape of the coca-cola bottle or the VW Beetle

Status

❖ Classic designs can increase in value and can project a certain status as they become more desirable ➢ A classic design can indicate the status (social position) of an individual. ➢ Increase in the perceived status of a person. ➢ Connections with the elite class ➢ Conveys a feeling of satisfaction. ➢ A feeling of owning a rarity.

Culture

❖ Design classics can reflect cultural influences. ➢ It may be a national or religious cultural influence. ■ Vegemite is strongly associated with Australia. Even the advertising Jingle is a cultural icon. ➢ It may concern a sub-culture such as a particular youth culture or movement. ■ For example UK Skinheads’ footwear were Dr Martens boots with its yellow stitching. ➢ Evokes emotional attachment ➢ Nostalgia ➢ A sense of belonging

Obsolescence

❖ Obsolescence is something becoming obsolete or of no longer any use. Consumer electronics such as your mobile phone often fall into this category. Many people will replace their mobile within a few years. ➢ A classic design defies (transcend) obsolescence. ➢ It is timeless ➢ It is still a desired object long after they have ceased to be manufactured. ➢ A classic design transcends (goes beyond) its original function. ➢ Its unchanging (or minutely changed) design spans time

Mass production

❖ Mass production contributes to a product reaching classic design status such as the VW shown below or the Bic Pen. ➢ being mass-produced spanning decades leads to it being ever present or omnipresent. ➢ Mass-production made cars affordable (due to economies of scale) so it sold well. ​ ​ ➢ Mass-production made them easily available. ➢ Its simple design (and mechanics) lent itself to mass production.

Ubiquitous/omnipresence

❖ A classic design often has a constant presence, or omnipresence, in a rapidly changing context and has been in constant circulation.

Dominant design

❖ A dominant design contains those implicit features of a product that are recognized as essential by a majority of manufacturers and purchasers. ➢ For example Coca-cola – the shape of the bottle, the font and red colour. ❖ Classic designs that are also dominant designs in the marketplace are difficult to change them. ➢ because it is popular or omni-presence ➢ those that have defied obsolescence and have been around a long time tend to have emotional attachments

Nostalgia

❖ Dominant design has been around a while, if it changes not so recognisable and the company could risk profits ➢ The “QWERTY” keyboard layout was specifically designed (to make people inefficient) to replace the flaws of the mechanical typewriter by changing the order of the letters on the keyboard. Now it is recognised as well used worldwide and preferred over the more logical and formal keyboard layouts. By the way, did you know that you can type faster one handed than on a QWERTY keyboard.

Form vs. Function

Classic design has a timeless quality, which is recognized and remains fashionable.

A classic design is not simply defined by how well it functions or its impact. It can be recognized as from their design movement/ era. Yet, originality - whether it is evolutionary or revolutionary - seems to be the trait that makes a produce “timeless”. A classic design is one that belongs to the highest class or rank. This is because classic design status is earned and not created. The classic status is earned based on the quality of execution, enduring qualities and restraint. It’s an awarded status. ​ ​ Restraint means holding back a little bit and is quiet, understated, doesn’t show it all at once. ​ Design classic refers to an arrangement of parts or details of something that becomes recognized as definitive in its field. The process of design involves working out and arranging the parts or details of something generic. In the context of design, classic means something that serves as the established ​ model or standard in a particular field. As such, a design classic is a pacesetter in its area of influence.

Classic design often appeals to our emotions.

Classic design → retro design.

Classic designs are often recognized across culture and hold iconic status. Not always true, but there ​ may be some truth to it.

What makes a classic design?

1. Timeless aspects, enduring 2. Iconic, representative 3. Represents an era or design movement 4. Serves as an established model 5. Of the best quality 6. Widely recognisable internationally and across cultures 7. Ground-breaking/ original, influential 8. Transcends its original function 9. Has an emotional appeal 10. Its status is earned and not created 11. A degree of restraint in the design

Mass produced? Thousands of people have to buy them or be able to see them before it can earn its ​ status.

CONCEPTS AND PRINCIPLES

1. Image

How image makes a classic design instantly recognisable and provokes emotional reaction

“The general impression that a person, organization or product presents to the public.”

Aesthetically pleasing products appear to the user to be more effective by virtue of their sensual appeal. This is due to the affinity the user feels ​ ​ towards an object that appeals to them: they make an emotional connection with the product. Making you happy can create a feeling that a product functions more effectively.

Donald Norman, the author of Emotional Design suggests that classic design often has built in ​ ​ ​ emotional triggers that makes a product desirable.

2. Status and Culture Classic design is often recognised across cultures. How does that happen?

The shape and form of a classic product are already formed in our brains. Like movie stars, classic products have a visual power, the power of recognition. The aspects of beauty, distinction and celebrity creates an icon to which we are drawn. The product has achieved status, importance and cannot easily be ignored.

3. Obsolescence

How does a classic design defy obsolescence and transcend its original function?

It doesn’t matter if an object is obsolete it can still be a classic design because it meets the criteria that was outlined earlier.

Planned obsolescence is when a product is deliberately designed to have a specific product cycle. This is usually a shortened life span. The product is designed to last long enough to develop a customer’s lasting need. The product is also designed to convince the customer that the product is a quality product, even though it eventually needs replacing.

In this way when the product fails, the customer will want to buy another, an up to date version. Obsolescence can be determined by , technology, materials, construction techniques.

The classic or iconic design, however, transcends these forces and continues to sell far beyond the traditional life cycle of a similar product.

4. Mass Production

How does the role of mass production contribute to a product reaching class design status?

In the past, high quality items were made in small quantities and were available only as luxuries for the wealthy; their existence was unknown to the wider population.

The development of mass production has meant that consumers have access to a wide rage of products which are available in large quantities.

Consumers choosing the same product en masse and across markets has led to the development of classic design status for ordinary products.

Mass production has meant that although set-up costs are high due to mechanisation and automation, total costs per unit are low and therefore mass product has brought a huge quantity of new products to the attention of customers.

5. Dominant Design

Dominant design is the emergence of a product that possess a particular feature or features that seem to be essential.

Certain products seem to transcend their function and become necessary to own; they often attach brand loyalty and retention

When a classic design becomes dominant, it can be difficult to change as consumers often cannot imagine that a product could actually be better and don’t want to lose their cherished possession. An example of a classic design: Converse sneakers ​ Is it … Ubiquitous - in a way it is because it available in a wide range of stores

Associated with an era and earned its statues through mass production - it was invented in the 1892, but was endorsed by celebrities and basketball players so it would be associated with these high-rank players.

Image - very recognisable and it is often seen as the star which makes it very noticeable.

The obsolescence is still there in terms of aesthetic obsolescence to do with the design on the sneakers. It is in a way, simple and restrained in its design.

What is Meant by retro styling?

● Appropriating the aesthetic of a previous period of time to inform the design of a new product. ● Why do retro style? ● Does a retro styled product need to respect classic designs? ● Does it tap into the concept of nostalgia?

Form vs. Function

Emotion and design

● The balance between function and form is often an area of difficulty for designers If a product is purely functional it may be lacking in appeal to consumers no matter how good it may be at completing its job. Often we are drawn to products with form as a primary consideration ● Why?

Emotional design

Designing to say the product says something about the user, appealing to the emotions.

● An object may fulfil a role that goes beyond its obvious function ● People may be attracted to certain designs regardless of how well they function ● People have emotional reasons for buying a product that transcends function

Find examples:

Practical function is the main factor Psychological function has been the main factor Scissors Routemaster bus

(From Workbook)

Essential Idea: A classic design has a timeless quality, which is recognized and remains fashionable. ​ Nature of Design: A classic design is not simply defines by how well it functions or its impact. Classic ​ designs can be recognized as from their design movement/ era. Yet, originality - whether it is evolutionary or revolutionary - seems to be the thing that makes a product “timeless”. Concepts and Principles:

1. Image - how image makes a classic design instantly recognizable and provokes emotional ​ reactions a. How do these images make you feel? Do you feel the same about the image? Why not? i. The images makes me feel wealthy and special. It looks quite delicate and has a special quality to the image. This is not the same for everyone because of the way they perceive the product. However, what may be common is the way in which the image can affect how we feel about the product - special. 2. Status and culture - how the constant presence of a product in a changing context leads to ​ classic design status 3. Obsolescence - how a classic design defies obsolescence and transcends its original ​ function. a. What does “obsolescence” mean? i. If we say something is “obsolete” it means it is past, we do not want it anymore, it is not sold or available anymore. Some examples of obsolete or nearly obsolete products are shown below: 1. Video cassette tape 2. Polaroid camera 3. Landline telephone ii. Why are they obsolete/ or nearly obsolete? 1. They are not functional which means they are not used today 2. Other products have replaced them which would again be related to the limited functionality due to better, more technologically advanced products available 3. There is no (or near to none) consumer demand for the product, which means the companies and manufacturers would be making a loss had they continued producing it. 4. Mass production - how the role of mass production contributes to a product reaching classic ​ design status a. What is “mass production”? i. When products are made continuously or in huge numbers e.g. cars, food, etc. if a product is mass produced it means that the unit cost; i.e. the cost of one product comes down. This then makes that product more affordable. Thus we can all afford to buy something that is fashionable at a certain time. This results in that product becoming a design classic. Another example of this may be Ray-Ban sunglasses. 5. Ubiquitous/ omnipresence - everywhere, all around us ​ a. An example of something which might be considered ubiquitous or omnipresent might be coca-cola bottles or mcdonalds packaging and logo. 6. Dominant design - how classic designs are dominant in the marketplace and difficult to ​ change leading to imitations for example, “est” a. The Apple iphone is a good example of a dominant design in the mobile phone market. How have other companies tried to compete with the iphone? i. Similar touchscreen capabilities ii. In terms of the size and shape of the phone (samsung has adopted curved phone designs with a few main buttons on the bottom) iii. The features available on the iphone can be imitated on other phones, such as the stores, clock, email, music, etc. iv. The synching of the phone information to other products with the same brand encourages brand loyalty v. Extending the saturation phase of the product life cycle using strategies like releasing new versions of the phone vi. The iphone dominates the market so other companies have tried to do the same or similar by imitating the iphone in several ways vii. The functionality of the phones are very similar - primarily used for calling and texting, but also with additional applications and games.

Nature of design

Classic design holds “” as a fundamental principle, but this is not always evident in practice. Some products are so well designed with function as their primary goal, that their use is intuitive. As designers develop new technologies, the lines between the form and function of a product continue to blur.

Form - what a product looks like versus function - what a product needs to do

Concepts and principles

● Form vs function - comparison of retro-styled products with the original production models in relation to Form and Function ○ Mini cooper ○ Yamaha Fino ○ 1950 Vespa ○ Volkswagen Beetle ● Retro-styling - the tension between form and function When developing new products based on the classic design ○ The original classic Beetle was a rear wheel drive, air-cooled rear engine car made for the masses, it was a solid robust car with basic technology. The comfort is the biggest difference. The new ones have many more modern technologies like power windows and locks, CD player standard, side mirrors on both sides, airbags, better handling and more powerful engine which is now in the front as opposed to the rear engine in air cooled beetles. Nore storage , the old beetle had virtually no storage aside from the extremely limited space under the bonnet (in the front) and the back seat if it were only two people. There have been many technological changes, this has resulted in the comfort and ride of the new Beetle being much better than the classic beetle. New beetles also use a ‘lot’ of high impact plastic which improves safety (absorbs impact). ● Conflict and compromise - the tension between form and function when developing new products based on a classic design ● Practical function versus psychological function - identify products where either practical function or psychological function has been the determining factor in the design ○ Alessi, an innovative Italian company renowned for its radical design approach to domestic products such as kitchen appliances, is an example of a company successful due to the psychological appeal of its products. In the 1990s Alessi collaborated with French Philippe Starck to produce a range of products which transcended utilitarianism to the point of being exotic. Probably the most iconic example of such a product is the Juicy Salif lemon squeezer designed by Starck in 1990 and shown below.

Assignment 1. What is your chosen product (nice big, clear, colourful pictures) 2. Why did you choose it? 3. A little background/ history about the design - when it was first designed, name of designer, etc 4. Is it a mass produced product or not? Why? 5. Is this a dominant design in its market? Explain why. 6. Explain the form and function - which follows which? 7. For your design movement, as above, a little historical background, the names of famous designers from that era and some of the iconic designs from that movement.

Ford Mustang

I chose it because it is a vehicle that is very well-known, but has been modernised and adapted to suit the present day.

It was manufactured by Ford based on the second generation North American Ford Falcon, a compact car. The original 1962 Ford Mustang was a two seater which then developed into a four seater. John Najjir is credited to have come up with the name, inspired by WWII P-51 Mustang. An alternative view is that Robert Eggert came up with the name after the breed of horse.

It was mass produced and this is because there was a lot of demand for the product when it first came out. This was not only because it was endorsed by professional drivers and such, but also because of its new features and capabilities.

It used to be a dominant design in the market because Ford was one of the most popular car manufacturers in the 1950s and 1960s. However, now that there are several other car manufacturers that have risen and gained popularity, Ford is still well-known but not the dominant design.

The function comes first with the Ford as the speed and the capabilities for the user is the feature that is most attractive. However, the form of the roof and the seats, the form and aesthetic do play a large role in the recognisability of the car in the 1950s and 60s.