Industrial Design & Social Equality
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Transcript of Industrial Design & Social Equality
Industrial Design & Social
Equality
An analysis of a paper by Jan Michl
Den stora nordiska utställningen i Köpenhamn 1888
1989
by Jawwad Zaidi
Author
Jan Michl, Professor – design theory, history• Oslo School of Architecture & Design,
Institute of Form, Theory and History, Norway
• Gjøvik University College
• Addresses questions arising on connections between design and
taste, social status, prestige or market.
• Can a modern industrialized society (Socialist) expect to produce an industrial design culture higher than market-oriented societies (Capitalist)? (when aiming to achieve social equality)
Intro
Correlation of Copenhagen Exhibition to critique of design intent in the rise of consumerism by William Morris:
“ For I do declare that any other state of society but communism is grievous and disgraceful to all
belonging to it”-William Morris, 1893
“Unless the present economic system is abolished, its roots eradicated and all its intricate branches lopped, the
first condition for a democratic alternative to the fake culture of our present civilization are not satisfied.”
-Herbert Read , 1941
“…..forms could, and should be, produced independently of the tastes of any social class or
group.” (p.67)
Such forms would be based on objective factors and equally accessible to all, regardless of their background.
Would advance the cause of social equality (egalitarianism)
Oxymoron: Such a society was both the aim and pre-condition of Functionalism
Functionalism (Form follows function):
Rethinking of Socialist approach in the 1980s Author claims that Social Equality and Excellence in
Design cannot co-exist Marxist –Leninist view:
oAbolishment of private ownership will lead to a more creativityoMarket mechanisms determined by central planningoWastefulness of market economy can be avoided
BUT This has not materialized despite the people being
talented and having a creative arts history
Success of Western Design in quality and popularity
Abolishment of private enterprise and market mechanisms diminishes the industrial capacity of a society
Current Industrial Design Culture around us is a result of competition, not egalitarianism.
Utilitarian / Functional is not sufficient Belongings represent the owner Representational Pressure: We want to
own things that represent us The higher the social status, the greater
the pressure This pressure extends to businesses:
Corporate Identity, logos etc. Tolerance of ‘ugly’ products when owned
commonly
Capitalist View:
Capitalist
• Private ownership• Exclusivity-Luxury• Social Distinction• Competition
• Meets user-demands
Socialist
• Public ownership• Equality• Monotony
• Central Planning• Indifferent
• Designer alone cannot guarantee design excellence• When market mechanisms are blocked,
so is Industrial Design culture
Social Inequality + Market Economy = Design culture
Social equality + Planned Economy = Design culture
Conclusions
Luxury vs. Sustainability
To what extent does luxury redefine itself with the onset of growing consumer power?
Will the search for sustainable solutions and new production technology drive us to exercise greater social equality in terms of control of excessive over-production?
Conclusions
Keywords
Socialisms, Communism, History of Industrial
Design, Commerce, Commercial, William Morris, Market economy, Social-
Equality, Social Status, Design Theory, and Social-Exclusion and Social
Inequalities Prestige, Social-Distinction Representational-Pressure