5.06.2011
5.05.2011
Critical Debates in Design - task 8 : Sustainable design
What are your opinions on sustainable design?
Sustainable design is a great kind of design meant to yield products that are made only of renewable resources. It is a vision for a better life as it provides many benefits whether in terms of economic, social, or environmental. Sustainable design typically has lower costs for energy, water, maintenance/repair, or other operating expenses. It also affects on health, comfort, satisfaction, and quality of life which can be measured in terms of individual life expectancy and state of wellness. This includes such issues as environmental quality, aesthetics, educational and recreational opportunities, accessibility and quality of public services, and even psychological characteristics such as community satisfaction and pride. Furthermore, products made though sustainable design are intended not to seriously impact the environment either when they are being created or when they are being used. These products are also often designed to allow the users to feel more connected or to relate more closely to the natural environment. Therefore, it can be seen that sustainable design totally helps save the societies and the world.
Sustainable design is a great kind of design meant to yield products that are made only of renewable resources. It is a vision for a better life as it provides many benefits whether in terms of economic, social, or environmental. Sustainable design typically has lower costs for energy, water, maintenance/repair, or other operating expenses. It also affects on health, comfort, satisfaction, and quality of life which can be measured in terms of individual life expectancy and state of wellness. This includes such issues as environmental quality, aesthetics, educational and recreational opportunities, accessibility and quality of public services, and even psychological characteristics such as community satisfaction and pride. Furthermore, products made though sustainable design are intended not to seriously impact the environment either when they are being created or when they are being used. These products are also often designed to allow the users to feel more connected or to relate more closely to the natural environment. Therefore, it can be seen that sustainable design totally helps save the societies and the world.
Critical Debates in Design - task 7 : Thou shalt not advertise…
What do you consider to be the role of advertising?
Advertising is often considered as the senior element of marketing communications. When thinking about advertising, the term “media” from a broad perspective is needed to consider. It does not only include traditional mass media sources such as television, radio, newspapers, and magazines but also includes outdoor advertising (billboards and transit vehicles), direct mail, and the Internet.
What role advertising should play will be affected by the overall intentions of the advertising plan although it is generally agreed that advertising is better at achieving some things rather than others. It is considered, for example, to be capable of reaching large audiences and being effective and cost efficient at achieving high level of awareness, creating brand differentiation, informing and reminding, and developing and maintaining brands. In addition, as the nature of marketplace is highly competitive, advertising is important in terms of being used to maintain competitive advantage of the brand. This can encourage consumers to include the brand as a possible purchase along with others that they usually buy, leading to many benefits for the brand and company whether in terms of brand share or mind share.
Discuss the ethics of advertising.
Ethical issues in advertising to be considered are;
-Deceptive/misleading advertising, including puffery that amount to soft core deception: Positioning a product using misleading or exaggerated claims not only can be ethically unsound but creates customer confusion, negative publicity and can result in legal or regulatory censure.
-Advertising that manipulates behaviour (i.e. advertising as hidden persuader that creates false needs leading to unnecessary/harmful demand)
-Advertising to children
However, it is extreme difficult in defining what is, and what is not ethical especially when the notion of social acceptability changes over time and varies from one culture or country to another.
Moreover, as advertising becomes more and more fragmented, as a way of fighting through the clutter, creative people will push the boundaries, taking risks, more and more to get an advertising noticed. To them it is creativity that counts and they make the rules and will not held back by convention.
What do you consider to be good advertising and bad?
In my opinion, the impact of advertising, which can occur in just a short time and convince consumers to buy the product, is the most effective criteria to consider whether the advertising is good or bad. Advertising should be designed to have a lasting psychological effect on audiences so they will remember the product or brand. It gives the consumers something of value, whether that is entertainment or information, and creates a positive association with the product or service advertised. This can also help advertising produce the greatest results for a given expenditure.
Research “first things first” a manifesto by Ken Garland 1964 and the renewal of the manifesto in 2000.
First Things First a manifesto 1964
The original First Things First manifesto was published by 22 signatories in: Design, the Architects‘ Journal, the SIA Journal, Ark, Modern Publicity, The Guardian, April 1964. It was renewed in 2000
We, the undersigned, are graphic designers, photographers and students who have been brought up in a world in which the techniques and apparatus of advertising have persistently been presented to us as the most lucrative, effective and desirable means of using our talents. We have been bombarded with publications devoted to this belief, applauding the work of those who have flogged their skill and imagination to sell such things as: cat food, stomach powders, detergent, hair restorer, striped toothpaste, aftershave lotion, beforeshave lotion, slimming diets, fattening diets, deodorants, fizzy water, cigarettes, roll-ons, pull-ons and slip-ons.
By far the greatest effort of those working in the advertising industry are wasted on these trivial purposes, which contribute little or nothing to our national prosperity.
In common with an increasing number of the general public, we have reached a saturation point at which the high pitched scream of consumer selling is no more than sheer noise. We think that there are other things more worth using our skill and experience on. There are signs for streets and buildings, books and periodicals, catalogues, instructional manuals, industrial photography, educational aids, films, television features, scientific and industrial publications and all the other media through which we promote our trade, our education, our culture and our greater awareness of the world.
We do not advocate the abolition of high pressure consumer advertising: this is not feasible. Nor do we want to take any of the fun out of life. But we are proposing a reversal of priorities in favour of the more useful and more lasting forms of communication. We hope that our society will tire of gimmick merchants, status salesmen and hidden persuaders, and that the prior call on our skills will be for worthwhile purposes. With this in mind we propose to share our experience and opinions, and to make them available to colleagues, students and others who may be interested.
signed:
Edward Wright, Geoffrey White, William Slack, Caroline Rawlence, Ian McLaren, Sam Lambert, Ivor Kamlish, Gerald Jones, Bernard Higton, Brian Grimbly, John Garner, Ken Garland, Anthony Froshaug, Robin Fior, Germano Facetti, Ivan Dodd, Harriet Crowder, Anthony Clift, Gerry Cinamon, Robert Chapman, Ray Carpenter, Ken Briggs
First Things First Manifesto 2000
The First things first 2000 manifesto was an updated version of the earlier First things first 1964 Manifesto published in 2000 by some of the leading lights of the graphic design, artistic and visual arts community. It was republished by Emigre, Eye and other important graphic design magazines and has stirred controversy (again) in Graphic design.
We, the undersigned, are graphic designers, art directors and visual communicators who have been raised in a world in which the techniques and apparatus of advertising have persistently been presented to us as the most lucrative, effective and desirable use of our talents. Many design teachers and mentors promote this belief; the market rewards it; a tide of books and publications reinforces it.
Encouraged in this direction, designers then apply their skill and imagination to sell dog biscuits, designer coffee, diamonds, detergents, hair gel, cigarettes, credit cards, sneakers, butt toners, light beer and heavy-duty recreational vehicles. Commercial work has always paid the bills, but many graphic designers have now let it become, in large measure, what graphic designers do. This, in turn, is how the world perceives design. The profession‘s time and energy is used up manufacturing demand for things that are inessential at best.
Many of us have grown increasingly uncomfortable with this view of design. Designers who devote their efforts primarily to advertising, marketing and brand development are supporting, and implicitly endorsing, a mental environment so saturated with commercial messages that it is changing the very way citizen-consumers speak, think, feel, respond and interact. To some extent we are all helping draft a reductive and immeasurably harmful code of public discourse.
There are pursuits more worthy of our problem-solving skills. Unprecedented environmental, social and cultural crises demand our attention. Many cultural interventions, social marketing campaigns, books, magazines, exhibitions, educational tools, television programs, films, charitable causes and other information design projects urgently require our expertise and help.
We propose a reversal of priorities in favor of more useful, lasting and democratic forms of communication - a mindshift away from product marketing and toward the exploration and production of a new kind of meaning. The scope of debate is shrinking; it must expand. Consumerism is running uncontested; it must be challenged by other perspectives expressed, in part, through the visual languages and resources of design.
In 1964, 22 visual communicators signed the original call for our skills to be put to worthwhile use. With the ex- plosive growth of global commercial culture, their message has only grown more urgent. Today, we renew their manifesto in expectation that no more decades will pass before it is taken to heart.
Jonathan Barnbrook, Nick Bell, Andrew Blauvelt, Hans Bockting, Irma Boom, Sheila Levrant de Bretteville, Max Bruinsma, Si‰n Cook, Linda van Deursen, Chris Dixon, William Drenttel, Gert Dumbar, Simon Esterson, Vince Frost, Ken Garland, Milton Glaser, Jessica Helfand, Steven Heller, Andrew Howard, Tibor Kalman, Jeffery Keedy, Zuzana Licko, Ellen Lupton, Katherine McCoy, Armand Mevis, J. Abbott Miller, Rick Poynor, Lucienne Roberts, Erik Spiekermann, Jan van Toorn, Teal Triggs, Rudy VanderLans, Bob Wilkinson
(Reference: Gestaltung and Zürich, 2005. Available from)
Advertising is often considered as the senior element of marketing communications. When thinking about advertising, the term “media” from a broad perspective is needed to consider. It does not only include traditional mass media sources such as television, radio, newspapers, and magazines but also includes outdoor advertising (billboards and transit vehicles), direct mail, and the Internet.
What role advertising should play will be affected by the overall intentions of the advertising plan although it is generally agreed that advertising is better at achieving some things rather than others. It is considered, for example, to be capable of reaching large audiences and being effective and cost efficient at achieving high level of awareness, creating brand differentiation, informing and reminding, and developing and maintaining brands. In addition, as the nature of marketplace is highly competitive, advertising is important in terms of being used to maintain competitive advantage of the brand. This can encourage consumers to include the brand as a possible purchase along with others that they usually buy, leading to many benefits for the brand and company whether in terms of brand share or mind share.
Discuss the ethics of advertising.
Ethical issues in advertising to be considered are;
-Deceptive/misleading advertising, including puffery that amount to soft core deception: Positioning a product using misleading or exaggerated claims not only can be ethically unsound but creates customer confusion, negative publicity and can result in legal or regulatory censure.
-Advertising that manipulates behaviour (i.e. advertising as hidden persuader that creates false needs leading to unnecessary/harmful demand)
-Advertising to children
However, it is extreme difficult in defining what is, and what is not ethical especially when the notion of social acceptability changes over time and varies from one culture or country to another.
Moreover, as advertising becomes more and more fragmented, as a way of fighting through the clutter, creative people will push the boundaries, taking risks, more and more to get an advertising noticed. To them it is creativity that counts and they make the rules and will not held back by convention.
What do you consider to be good advertising and bad?
In my opinion, the impact of advertising, which can occur in just a short time and convince consumers to buy the product, is the most effective criteria to consider whether the advertising is good or bad. Advertising should be designed to have a lasting psychological effect on audiences so they will remember the product or brand. It gives the consumers something of value, whether that is entertainment or information, and creates a positive association with the product or service advertised. This can also help advertising produce the greatest results for a given expenditure.
Research “first things first” a manifesto by Ken Garland 1964 and the renewal of the manifesto in 2000.
First Things First a manifesto 1964
The original First Things First manifesto was published by 22 signatories in: Design, the Architects‘ Journal, the SIA Journal, Ark, Modern Publicity, The Guardian, April 1964. It was renewed in 2000
We, the undersigned, are graphic designers, photographers and students who have been brought up in a world in which the techniques and apparatus of advertising have persistently been presented to us as the most lucrative, effective and desirable means of using our talents. We have been bombarded with publications devoted to this belief, applauding the work of those who have flogged their skill and imagination to sell such things as: cat food, stomach powders, detergent, hair restorer, striped toothpaste, aftershave lotion, beforeshave lotion, slimming diets, fattening diets, deodorants, fizzy water, cigarettes, roll-ons, pull-ons and slip-ons.
By far the greatest effort of those working in the advertising industry are wasted on these trivial purposes, which contribute little or nothing to our national prosperity.
In common with an increasing number of the general public, we have reached a saturation point at which the high pitched scream of consumer selling is no more than sheer noise. We think that there are other things more worth using our skill and experience on. There are signs for streets and buildings, books and periodicals, catalogues, instructional manuals, industrial photography, educational aids, films, television features, scientific and industrial publications and all the other media through which we promote our trade, our education, our culture and our greater awareness of the world.
We do not advocate the abolition of high pressure consumer advertising: this is not feasible. Nor do we want to take any of the fun out of life. But we are proposing a reversal of priorities in favour of the more useful and more lasting forms of communication. We hope that our society will tire of gimmick merchants, status salesmen and hidden persuaders, and that the prior call on our skills will be for worthwhile purposes. With this in mind we propose to share our experience and opinions, and to make them available to colleagues, students and others who may be interested.
signed:
Edward Wright, Geoffrey White, William Slack, Caroline Rawlence, Ian McLaren, Sam Lambert, Ivor Kamlish, Gerald Jones, Bernard Higton, Brian Grimbly, John Garner, Ken Garland, Anthony Froshaug, Robin Fior, Germano Facetti, Ivan Dodd, Harriet Crowder, Anthony Clift, Gerry Cinamon, Robert Chapman, Ray Carpenter, Ken Briggs
First Things First Manifesto 2000
The First things first 2000 manifesto was an updated version of the earlier First things first 1964 Manifesto published in 2000 by some of the leading lights of the graphic design, artistic and visual arts community. It was republished by Emigre, Eye and other important graphic design magazines and has stirred controversy (again) in Graphic design.
We, the undersigned, are graphic designers, art directors and visual communicators who have been raised in a world in which the techniques and apparatus of advertising have persistently been presented to us as the most lucrative, effective and desirable use of our talents. Many design teachers and mentors promote this belief; the market rewards it; a tide of books and publications reinforces it.
Encouraged in this direction, designers then apply their skill and imagination to sell dog biscuits, designer coffee, diamonds, detergents, hair gel, cigarettes, credit cards, sneakers, butt toners, light beer and heavy-duty recreational vehicles. Commercial work has always paid the bills, but many graphic designers have now let it become, in large measure, what graphic designers do. This, in turn, is how the world perceives design. The profession‘s time and energy is used up manufacturing demand for things that are inessential at best.
Many of us have grown increasingly uncomfortable with this view of design. Designers who devote their efforts primarily to advertising, marketing and brand development are supporting, and implicitly endorsing, a mental environment so saturated with commercial messages that it is changing the very way citizen-consumers speak, think, feel, respond and interact. To some extent we are all helping draft a reductive and immeasurably harmful code of public discourse.
There are pursuits more worthy of our problem-solving skills. Unprecedented environmental, social and cultural crises demand our attention. Many cultural interventions, social marketing campaigns, books, magazines, exhibitions, educational tools, television programs, films, charitable causes and other information design projects urgently require our expertise and help.
We propose a reversal of priorities in favor of more useful, lasting and democratic forms of communication - a mindshift away from product marketing and toward the exploration and production of a new kind of meaning. The scope of debate is shrinking; it must expand. Consumerism is running uncontested; it must be challenged by other perspectives expressed, in part, through the visual languages and resources of design.
In 1964, 22 visual communicators signed the original call for our skills to be put to worthwhile use. With the ex- plosive growth of global commercial culture, their message has only grown more urgent. Today, we renew their manifesto in expectation that no more decades will pass before it is taken to heart.
Jonathan Barnbrook, Nick Bell, Andrew Blauvelt, Hans Bockting, Irma Boom, Sheila Levrant de Bretteville, Max Bruinsma, Si‰n Cook, Linda van Deursen, Chris Dixon, William Drenttel, Gert Dumbar, Simon Esterson, Vince Frost, Ken Garland, Milton Glaser, Jessica Helfand, Steven Heller, Andrew Howard, Tibor Kalman, Jeffery Keedy, Zuzana Licko, Ellen Lupton, Katherine McCoy, Armand Mevis, J. Abbott Miller, Rick Poynor, Lucienne Roberts, Erik Spiekermann, Jan van Toorn, Teal Triggs, Rudy VanderLans, Bob Wilkinson
(Reference: Gestaltung and Zürich, 2005. Available from
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