CONCEPTIONS OF Good Design

WHAT IS GOOD DESIGN?

Everything you wear, use, experience and house yourself in is designed. Some things are designed well and some are…not so good. Every day we make decisions about designs we like, and those we don’t; how things do and don’t suit our needs. We like some products more than others. We like some social media experiences over others. I like your house, but you don’t like mine. So how do we really know if a design is good? And after all, whose job is it to say if a design is good or bad? Well, as it happens the design industry as a whole has a common set of rules that define good design.

IS THERE AN ANSWER?

When we consider our notions of good design - that is, designs we think are successful, we evaluate them against our own needs and tastes. The problem here is that ideas that we form ourselves are subjective. Other people may not share our views. We need objective views about good design. We need standards we and others can use to analyse and evaluate existing designs and improve the formation of new design ideas.

Good design is a fluid concept. Times change. Different contexts bring inherent and unique opportunities and challenges. In addition, Australia and indeed the world’s institutions, corporations, governments and key design figures influence definitions of good design. Good design can be whatever they say it is.

The VCD Study Design (p19, VCAA, 2024) reads ‘notions of good design are personal, contextual and political.’ This means: Good design is up to you; it’s up to how well it addresses a need in particular place and time and it’s also up to other influential people.

PERSONAL NOTIONS

Personal ideas about good design are ideas that exist within someone using or experiencing a design. Generally, the way a design works and the experience it brings, lead to one forming personal ideas about designs. There is a range of known factors that influence personal ideas about good design.

ASPECTS THAT INFLUENCE PERSONAL NOTIONS

There are a range of aspects that influence our experience and personal feelings about design. These include:

Functionality

If and when a design serves its intended purpose effectively and efficiently, meeting the needs of the users.

Aesthetics

How a design looks. However, aesthetics in this context is subjective. Some people love the Apple Magic Mouse for its simplicity. Others love a huge gaming mouse, adorned with flashing lights, buttons and wheels for its apparent capability. I like tulips, you like thistles. The point is, designs that meet your aesthetic values are your idea of a good design.

User-centricity

Does the product make you feel at the centre of the design experience? Questions such as, is it easy to use or is the progress through an experience intuitive? Are ergonomic concerns addressed well? Do the ethics of design, production and distribution coincide with your social, economic and environmental values? Does the product or experience project ideas about yourself in ways you want them to be projected?

Other concerns that may lead to positive personal ideas about good design may include;

Consistency and durability

Does the design function consistently, using consistent visual and physical elements? Does the design offer the same or predictable experiences each time? Will it continue to function as long as you expect?

Accessibility

Is the design inclusive and easily used by a wide range of users including those with physical or intellectual challenges?

Innovation

For us in the design business, we like designs that push the boundaries creatively. But not everyone does. Some people like products they don't have to think about. They like products and experiences that conform to expectations gained from prior experiences.

In these ways, conceptions of good design can be personal. However, in expressing one's ideas about good design, one is mindful that our ideas should always be justified by measuring them against criteria such as those shown above.

TASK 1.1 RATE MY PRIORITIES

In groups discuss and rate each of the aspects that influence personal notions of design. Discuss why you think one particular aspect is most important to you. Come up with one example of a design that scores high for you, on each aspect.

TASK 1.2 MY FAVOURITE DESIGNS

When you get home take pictures of your favourite designs. Place the pictures on an A3 sheet. Discuss the ways you formed your opinion by referring to the aspects that influence personal notions of design. Hang up your sheet in the classroom.

TASK 1.3 JUDGE A DESIGN COMPETITION

In groups, select three examples of design in one field, from in or around your school. It could be three parts of the environment - buildings or landscape designs, three objects - computers, chairs or similar, three pieces of communication design - textbooks, posters or informative graphics or three interactive experiences - websites, apps or menu controls on a camera. Create a table with the aspects that influence personal notions of good design on the left and then score each of the three designs against these criteria. Pick and award a winner.

CONTEXTUAL NOTIONS

Different notions of good design are formed by people in different cultures, in different locations and through different periods in history. Design is not an isolated process but is deeply intertwined with culture, social norms, religious beliefs, artistic styles, the environment, scientific and technological advancements, and various other contextual factors. These influence how design is perceived to meet users’ needs, evaluated, and appreciated by different individuals and communities.

Conceptions of Good Design are formed differently by their social, cultural, historical and political contexts. All of these examples of environmental designs are or were considered, at one stage, Good Design. Consider how different conceptions of Good Design can exist simultaneously in different social, cultural and political contexts. These are shown in the diagram above. Conceptions of Good Design also change and evolve to reflect different social, cultural and political ideologies, beliefs and values held at different times. This is shown from left to right in the diagram.

ASPECTS THAT INFLUENCE CONTEXTUAL NOTIONS

Notions of good design may seem subjective on a superficial level. However, a more thorough examination will reveal that the ideas, beliefs, practices and approaches used by designers are profoundly shaped by the societies, cultures and periods of time in which they live. To facilitate an examination of designs from different cultures and locations, students examining examples of designs made in different contexts are encouraged to develop perspective-taking skills to understand how visual communications may be meaningful, functional and relevant for the specific audience for whom they were designed.

The range of aspects that influence contextual notions of good design include:

CULTURAL, SOCIAL, HISTORICAL, ENVIRONMENTAL AND TECHNOLOGICAL

Cultural and social context

Culture and society, including embedded religions and subcultures, greatly influence people's ideas about good design. Different cultures have unique aesthetics, values, and symbols that shape their understanding of good design. For example, minimalistic and functional designs might be highly valued in some cultures, while ornate and intricate designs could be preferred in others. Social norms, religious beliefs and community values also impact design, as it must align with societal expectations and cater to specific needs.

Historical and Artistic Influences

Design is not created in a vacuum; it builds upon historical and artistic influences. Past design movements, architectural styles, and artistic movements often define and shape contemporary notions of good design. Designers draw inspiration from the works of renowned designers and artists while striving to create something new.

Environmental Sustainability

In recent years, environmental considerations have become increasingly important in design. The growing awareness of climate change and the need for sustainable practices have influenced notions of good design. Designers are now expected to consider the life cycle of products, use eco-friendly materials, reduce waste, and prioritise energy efficiency. Designs that integrate sustainability principles are preferred and seen as forward-thinking.

Technological Advancements

Technological advancements continually shape design possibilities and expectations. The available tools, materials, and production techniques influence what can be achieved in design. For example, the rise of digital interfaces and interactive

technologies has led to the emergence of new design paradigms and user experiences. Good design must leverage advancements in technology to create innovative and functional solutions.

POLITICAL

Political factors also influence conceptions of good design. The term 'political' is used here to refer to people or organisations that, through their power and agency, are able to influence others' understandings of good design outcomes or solutions. Influential structures and figures include the ideologies and values of societal systems and national identity, government regulations and policies and prominent, respected design figures. These factors include:

Ideology and Values

Political ideologies and values can significantly impact what is considered good design. Different ideologies prioritise different aspects of design, such as functionality, aesthetics, sustainability, or cultural heritage. For example, an environmentally conscious political ideology might emphasise designs that are energy-efficient and ecologically sustainable, while a more conservative ideology might prioritise designs that preserve traditional aesthetics and values. Politics can influence conceptions of good design by emphasising or promoting national identity and cultural heritage. Governments may support designs that showcase local traditions, symbols, and aesthetics, fostering a sense of pride and identity. This can influence good design perception within a particular cultural or national context.

Government Regulations and Policies

Political decisions regarding regulations and policies can shape design standards and requirements. Governments often set guidelines for safety, accessibility, and

environmental impact that designers must adhere to. These regulations influence the design process and can impact society's perception of good design. Political decisions on public infrastructure and services can also influence conceptions of good design. The design of public spaces, transportation systems, and social services can reflect political priorities. For instance, a government focused on promoting equality and inclusivity might prioritise designs that provide equitable access and accommodate diverse needs.

Key figures

The then Prince (Now King) Charles created controversy in the discipline of architecture by attempting to influence ideas in contemporary building and urban space design. He is known for resisting trends for modernisation in building forms and materiality. You can find out about Charles' '10 Geometric Principles' for architecture in an interesting article by Rory Stott in Arch Daily.

During the history of design, many designers gained huge respect and notoriety within and beyond the design community. Several designers contributed greatly to design discipline by challenging established ideas and creating innovative solutions. Some even found and created solutions for previously unknown user needs. Many of these key designers also contributed to the ongoing historical discourse of design theory. A number of strong-willed designers seized creative opportunities by pioneering new styles and methods of design. People such as David Carson, Paula Scher, Stephan Sagmeister, Jessica Walsh, Michael Beirut, Dieter Rams, Marc Newson, Jonathan Ive and Philippe Stark began to influence trends in design across the globe. They also participated in contemporary design theory as commentators, authors, and educators, crafting new ideas about what constitutes good design in the contemporary design scape for newer generations of trained designers. Among these is the influential industrial designer Dieter Rams.

TASK 2.1 CULTURAL AXIS

Locate images of important monuments, churches, temples or deities from a broad range of cultures. If they are important, let's assume they have been deemed 'good design' by the culture they are from. Determine which aspects shown above, would have influenced the notions of good design in each of the examples you found. Compare and contrast your answers.

TASK 2.2 CHRONOLOGICAL AXIS

Locate images of important monuments, churches, furniture or cars from one culture or nation but through a long period of history. Using the same aspects you used in Task 2.1, determine which aspects would have influenced the designs most, at each different time. Compare and contrast your answers.

TEN PRINCIPLES OF GOOD DESIGN

The most well-known and durable summary of aspects that describe good design is the ‘Ten Principles of Good Design’ attributed to a German industrial designer, Dieter Rams. These concise and simple principles, made in the 1970s refer mainly to the field of Object design, in which they were developed. However, with minor adaptations in the way they are read, they can equally be applied to designs in the fields of Environments, Messages and Interactive Experiences.

The Ten Principles of Good Design, as formulated by Dieter Rams, are as follows:

The Ten Principles of Good Design explained in this section were informed by an article from the Design Museum United Kingdom: https://designmuseum.org/discover-design/all-stories/what-is-good-design-a-quick-look-at-dieter-rams-ten-principles

These principles encapsulate Rams' belief in the importance of simplicity, clarity, and functionality in design. They emphasise the need for designs that are user-centred, timeless, and environmentally conscious.
Rams advocated for products that would enhance people's lives without unnecessary ornamentation or complexity. The Ten Principles of Good Design have profoundly influenced the design community and serve as a guiding framework for designers and remind us of the importance of thoughtful and responsible design practices. As student designers, we need to be mindful of these principles as we seek to develop aesthetic and functional, human-centred design solutions.

DIETER RAMS

CREATED IN CONTEXT

Dieter Rams, a German industrial designer, is widely regarded as one of the most influential designers of the 20th century. He is known for his minimalist and functional approach to design, which has had a significant impact on the field of object design. Rams worked for the German consumer products company Braun for over 40 years, where he designed a wide range of products, including radios, record players, calculators, and kitchen appliances.

Rams' philosophy and design principles were developed through his years of practical experience and reflection on his work. The principles are not a single piece of writing by Rams nor can they be attributed solely to him, but rather a distillation of his design philosophy that emerged over time. They were first formulated in the 1970s and are commonly known as the 'Ten Principles of Good Design'.

The Ten Principles of Good Design' did not emerge in isolation. They were formed in the social and cultural context of dominant Western design and artistic trends.

Firstly, the dictum 'Less is More', commonly attributed to architect Mies van der Rohe was coined during his time teaching in the Bauhaus in the 1920s and 1930s. There, van der Rohe developed a set of design principles that emphasised simplicity, clarity, and the use of minimal elements to achieve a sense of elegance and refinement. He believed that by eliminating unnecessary ornamentation and focusing on essential elements, architecture could achieve a timeless and sophisticated quality.

Secondly, a new kind of artist known as minimal artists, such as Donald Judd, Dan Flavin, Carl Andre and Agnes Martin, sought to reduce art to its fundamental elements and eliminate any superfluous ornamentation. Minimal art embraced simplicity, geometric abstraction, and industrial materials. The works often featured clean lines, solid colours, and repetitive forms, stripping art down to its bare essentials. Minimalism challenged traditional notions of artistic expression and emphasised the viewer's direct encounter with the work itself.

Ram's Ten principles, born of this powerful aesthetic and stylistic context, were a result of his deep understanding of design, his observations of users' needs, and his exploration of the possibilities and limitations of materials and manufacturing processes. Rams also believed that good design should serve people's needs while being aesthetically pleasing, sustainable, and functional.

TASK 3.1 RATE RAM'S TEN PRINCIPLES

Examine the Ten Principles of Good Design in detail. Consider each one carefully. Determine, which of them you think are essential for good design. Which are nice, but maybe, we don't need? Reorder them from most to least important and explain why you have created that order.

TASK 3.2 RATE PRINCIPLES FOR THE MAC G5

Using the picture of the Mac G5 above as a reference, create a table showing Dieter Rams' Ten Principles of Design and score the design of the Mac on each principle. Determine how well you think it performs from 0 (not at all) to 5 (smashed it!).

TASK 3.3 RATE PRINCIPLES FOR WEB SITES OR APPS

Make a second table showing Dieter Ram's Ten Principles of Design (like you did in Task 3.2). Locate three websites showing similar information or selling similar products. (School websites will do) or identify three apps on your phone. Go through them and rate them using each of the ten principles as competition criteria. Pick a winner using the same scale as you did in Task 3.2.

TASK 3.4 ANALYSE A DESIGN ANALYSIS

Choose a design that you think is a 'good design' example in any of the design fields; Environments, Objects, Messages or Interactive Experiences. Take a photo of it and describe and evaluate the designer's use of the Ten Principles of Good Design. (Example annotated diagram above).

FURTHER NOTIONS OF GOOD DESIGN

In the Netflix age populations are becoming more design literate. It is now also widely recognised that ‘Design is Difference’. Meaning, spending time and money on design; taking the time to get things right for users leads to better and longer lasting, therefore more environmentally sustainable, outcomes for consumers and audiences. In this quickly changing commercial landscape where consumers can easily purchase goods designed and produced overseas, our governments are playing a bigger role in fostering and rewarding good design in Australian industries.

GOOD DESIGN AUSTRALIA

Good Design Australia (Formerly the Australian Design Council) has operated an award for Good Design in Australia since 1958. Originally run by the Industrial Design Council of Australia, Good Design Labels began to appear on products in the marketplace in 1964. Later the award was changed to the Australian Design Awards. The council was renamed Good Design Australia.

In its almost eighty-year history, Good Design Australia has promoted and developed the role of design in architectural, communication and product design, services, research and digital experiences. The Good Design Awards uses a rigorous and thorough process to test and evaluate hundreds of designs each year. There are three overarching criteria used for evaluating designs. These are;

1. Good Design: considers aesthetics, function, quality, commerciality.

2. Innovation: considers if the design sets a new benchmark within its field.

3. Design Impact: considers the impacts that may be felt by the client, users and the environment.

Good Design Australia recognises that design practices and methods are different for each of the fields of design. As a result, different criteria are used to evaluate designs from each discipline. Follow the link to see detailed descriptions of each of the different criteria used for the Good Design Australia awards: https://good-design.org/australian-good-design-awards/categories-criteria/

TWO AMAZING GOOD DESIGN AWARD-WINNING DESIGNS FROM 2022

OFFICE OF THE VICTORIAN GOVERNMENT ARCHITECT

The Office of the Victorian Government Architect is Victoria's expert advisor for improving design in the state's public buildings and spaces. They aim to raise awareness of the social, economic and financial benefits of good design in public building projects across local, state governments and in industry.

The following section is adapted from the webpage on Good Design.

The publication 'Good Design' by the Office of the Victorian Government Architect defines key design principles and outlines approaches to achieving good design in public infrastructure. It aims to support groups in ensuring that public projects not only look good and are built fit for purpose but through the intentional consideration of the capacity for adaptability and engagement, cultural inclusiveness and environmental sustainability become ones of deep and lasting value, engendering civic pride and wellbeing in the community.

The key principles outlined in this publication infer a somewhat gestalt concept that the effect of a well-designed public project in the built environment can be greater than the sum of its parts. They define Good Design as being:

1. Inspiring

A project is innovative, beyond its primary purpose and inspiring for the community.

2. Contextual

A project is informed by and relates sensitively and effectively to its location and social and cultural environment.

3. Functional

A project works as intended and has the capacity for future adaptability.

4. Valuable

A project considers aesthetics and function with respect to reducing life cycle costs and its unique identity in the creation of place.

5. Sustainable

A project is energy and environmentally efficient and durable.

6. Enjoyable

A project serves community needs in safe and healthy ways and contributes to positive social outcomes.

7. Enduring

A project delivers a long-lasting legacy that serves and promotes civic pride.

These seven principles of Good Design explained in this section were informed by an article from the Office of the Victorian Government Architect. Follow the link to visit: https://www.ovga.vic.gov.au/good-design#what-is-good-design

TASK 4.1 CHOOSE YOUR OWN PRINCIPLES FOR GOOD DESIGN

After understanding the objective aspects that define good design, it's time to brainstorm collaboratively with your friends. Come up with ten considerations that are relevant to you and your peers, and then share and vote on these ideas to establish your class's 'Top Ten Principles for Good Design'. You can use these principles to rate three different products, such as websites, apps, or textbooks.

TASK 4.2 ILLUSTRATE YOUR PRINCIPLES

Create a poster to illustrate your class' Top Ten Principles for Good Design. You could draw icons manually using coloured pencils or cut paper or use Adobe Illustrator. Alternatively, find the best design you can and annotate it referring to each of your Top Ten principles for Good Design. Print them and stick them up in the classroom.

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