Good design?

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There are diverse definitions of design. Amongst others, it is a language to describe colour, size, shape, function and visual reference; it is a solution to solve problems as the process of composing a desired figure toward the future; design is an object which represents subconscious desire and satisfies, and indicates a social and cultural level.

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In my understanding, good design is not just about the function or object but rather the interrelationship with aesthetic, technical and functional precepts and it is a language for describing ourselves in a way that represents our identity and self-value. 

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I start and complete my day with my iPhone. Before I get out of bed, I check the time and weather forecast using my iPhone. Before I set off anywhere I check the transport route and timetable. I listen to music and use navigation using the iPhone. I am oriented and secure with my iPhone. From the practical design perspective, I feel it is useful and designed well in terms of its shape, weight and utility. It is aesthetically pleasing, with sleek and smooth edges, and a perfect size, fitting in the hand to provide an excellent grip. It is not too big or too small, so that I am not worried about dropping it. It is easy to hold and control the buttons with one hand. It is also user friendly: the interface and functions are intuitive and the software platform is stable for running multiple applications. 

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However, the most important aspect of the iPhone’s design is the implicit message: “we share an emotional communion”. Other manufacturer’s mobile phones provide similar functions within similar designs and are cheaper than the iPhone, but they don’t provide any emotional and personal reason to buy it. I care less about the budget, design or even the extent of the function of the design. I am more interested in the story, philosophy and identity of the object according to what I think it says about myself and its role in my life. I purchase a certain design to create an ideal identity for myself. I am aware that design has become a means of self-delusion. I justify my purchase behaviour according to how the object makes me feel about myself. I want to have distinction, reveal my unique identity and represent myself according to my idea of myself through the iPhone. The topic, “Observing the Everyday” made me think about the definition of design, how to observe the object from different perspectives and analyse why I like any particular design. I agree that design is a function or a solution to functional problems, but at the same time design is a language which conveys the identity and values of the individual. 

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For “Questioning the Collection”, I chose to analyse a Japanese Samurai sword from the V&A, to consider how the Museum presents and constructs histories and theories of design. From the mid- 12th century to the mid-19th century, Japan was ruled by a military leader known as a ‘Shogun’ who ruled the country instead of the emperor. The samurai were members of the military class and served the shogun with absolute loyalty. The samurai always carried a pair of long and short swords. The long sword was for killing enemies and the short sword was for committing suicide, an honourable exit, should the need arise. The pair of swords were not only essential weapons but also the symbol of the samurai’s honour and loyalty, and the samurai was willing to die for his master to preserve honour and maintain the integrity of the samurai. The samurai represented the social and cultural values of the shogun period. The sword represents the samurai’s individuality, identity and responsibility for his master, and each samurai sought to distinguish themselves through their chosen style of sword. Their desire for a unique style of sword led to the development of greater technical craft skills. To create a sharp and strong blade required improved ironwork techniques, and they developed decorative art techniques to represent their individuality. The V&A provided limited contextual and technical information at the display, although there was more information on their website. However, in order to understand the personal meaning and value of the samurai sword fully it was necessary to research much further. 

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The V&A was founded in 1852. The aim of the museum was to educate people who could not or did not go to school while at the same time support and showcase British design through a balance of technical education and entertainment. Within a few years it had begun displaying outstanding Japanese objects such as ceramics, woodwork, metalwork, textiles, prints and paintings. The Japanese exhibition introduced not only the mysterious and mythological Japanese culture to the West but also revealed their unique technological design and process. Japanese objects reveal skilful craftsmanship, and inspired British designers to consider eastern styles of design for their work. 

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In my opinion the fundamental tension between personal and institutional design histories is defined by subjective or objective judgement. I think the iPhone is a good design because it addresses me in a psychological and emotional way. The object is a crucial expression of ideas of form, which are not just functional or visual, it involves other senses such as emotion and psychology. Regarding the iPhone as a good design is partly but crucially based on a set of seductions and manipulations that are taking place entirely in my head, rather than in physical space. It is related to subjective thought and emotion such as the unexpected, passionate and quirky because the iPhone holds personal memories, represents my experience of time and helps define who I am. 

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On the other hand, the Victoria & Albert Museum as an institution has a different perspective and responsibility to their audience. When selecting objects for display, the institution considers objective standards such as the historical, political, economic and cultural context, how the object defines the time, place, and reason for its creation, its use and value socially and culturally, and how it represents national identity. It does not offer relative or comparative analysis that might help us to understand an object subjectively. Therefore objects can remain distant and aloof in the mind of the observer. When selecting an object the institution considers objective matters, it is not concerned with subjective matters such as personal emotion and psychological issues due to its responsibility to provide fair and unbiased information to visitors. However, with only an objective contextual explanation, displayed objects are underrepresented – the weight of their meaning in time, the full extent of their impact, the personal experience of the previous owner cannot be fully grasped through mere observation, as in the case of the samurai sword. The personalisation of design objects brings unique emotional, psychological enhancement as well as all kinds of other perceived values by the owner/user. On reflection, it could be argued that the samurai sword and the iPhone are related in design through their personal value and meaning to their user. 

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In conclusion, good design is not limited by objective values but can be improved by intrinsic subjective ones. It can therefore be argued that the designer has a moral responsibility. “Personal and Institutional Histories and Theories”, made me think about the definition of design and how to observe an object from different perspectives. Design is a language which doesn’t simply convey the identity and values of society and the individual, but influences it. Understanding design can help us to understand ourselves and the world we live in and in this way help us to shape the future.

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