Design. Mark McGinnis

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СКАЧАТЬ the dominant theory of integrity of form in the 20th century. Their famous decree was “form follows function.” The clearness and directness of the statement itself reflects the integrity of the concept. In their designs, primarily architecture, textiles, furniture, and household items, they believed in stripping away all unnecessary and decorative elements. They wanted to pare the design down to the essential so that the form would be an indication of the function. The item was to be a direct reflection of the function, the materials, and the machine process used to produce it (Bevlin 28). In Bauhaus thinking a chair didn’t need embellished carving and spindle legs. It didn’t need elaborate upholstery or claw feet. A chair needed to support the seated human figure and design should attempt to accomplish that objective with simplicity of shape and economy of materials. This concept became so ingrained in 20th century design that its revolutionary nature is sometimes forgotten. We need to remember what a dramatic break this was with centuries of elaborate and decorative design as seen in the styles of the Art Nouveau, Romantic, Rococo, Baroque, and Renaissance.

      In a way the Bauhaus was really returning to a rule of a nature in design. “Form follows function” has always been the ultimate rule of nature’s designs - from the tiniest to the largest. The process of natural selection in nature is a process of refining form to facilitate function; that is, to create the most functional designs possible in relation to the environment. One of the most fascinating places to observe this is in the structures animals and insects build. The efficiency and simplicity of the constructions are models of form following function.

      Directly related to integrity of form is integrity of function itself. The use of materials and the item designed leads to the functional integrity of the product: how does it work? Does the drawer open and close well? Does the coat keep you warm? Does the car run dependably? Does the computer perform the functions it is supposed to? Modern life is plagued with innumerable examples of poor integrity of function but also with many astoundingly good ones.

      A final area of integrity, the integrity of the individual producing the work, is one that is usually ignored in discussions of art and design. Integrity and honesty have much in common. Both deal with the concept of wholeness as mentioned in our original definition of integrity and, indeed, in our original definition of design itself. An honest person is a whole person, one who has not broken her or his integrity into pieces. Integrity is an area where some people see a deep crisis in our society. Integrity can be interpreted as a spiritual sense of wholeness and commitment as expressed by Heschel:

       The central problem of this generation is emptiness in the heart, the decreased sensitivity to the imponderable quality of the spirit, the collapse of communication between the realm of tradition and the inner world of the individual. The central problem is that we do not know how to think, how to pray, how to cry, or how to resist the deceptions of the silent persuaders. There is no community of those who worry about integrity. (251)

      To have integrity as an artist and designer is to have an honest approach to the concept, the production, and the distribution of your work. Integrity can and should extend beyond individual integrity and encompass the artist/designer’s responsibility to society and the environment. The ramifications of one’s art and design must be considered in a broader sense. The integrity of one person does make a difference. It makes a difference in what that person does and in the example that person sets for others. Integrity is a gift to yourself and to others.

      In the commercial arts designers can make a major difference in how responsibly our finite resources are used, in what materials to design for and what materials not to, and in how to design for the use of more renewable resources rather than continuing to design for nonrenewable materials. The designers can rethink package design in our society and eliminate the excessive packaging that adds to the snowballing garbage problem. Designers must decide what they will promote and what they will not. Will they create beautiful, luring advertisements to encourage people to smoke? Will they distort sexuality to sell nearly everything? Will they produce dazzling, creative ads that induce people to excessive alcohol consumption? These are questions of integrity.

       PROJECT #1: INSPIRATION, ORIGINALITY, CREATIVITY, AESTHETICS, and INTEGRITY - IN ONE ARTIST’S WORK

      objective: To apply the five concepts of this chapter to an artist or designer.

      procedure:

      1. Write a report on a nationally or internationally recognized artist or designer, one whom you admire and would like to learn more about. You may choose from any field of art and design. It should be an artist or designer who you can find adequate materials to research.

      2. The report should have four primary sections, one for each of the categories: inspiration, originality and creativity (combined), aesthetics, and integrity. Each section should explain in detail how the artist’s work and/or life relates to the concept. The report should be based on some library research but most of the report will be your own personal analysis. Some of the concepts are not going to be obviously explained in research information that has been written about the artist. You are going to have apply your understanding of the concept to the artist’s work and formulate your own opinion.

      3. All areas of the report using written sources (books, magazines, and minimal Internet) must acknowledge those sources using footnoting or the Works Cited procedure (as used in this text). This citing must include all direct quotes and all information that you have summarized from other sources.

      4. Photocopies of the artist’s work should be included with the report as supportive visuals. The report is to be word processed in 12 point Times New Roman font and presented in a clear plastic report folder with a title page listing your name, the project title, and your topic’s name..

      5. The report will be due at mid-term (date to be announced in class)

      The report will be evaluated for the depth in which you cover each area, format & presentation, writing skills, and source acknowledgement.

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