Table of Contents

Lecture Reflections

En
: Lecture Reflection #1 22.1.2010
What is Design? How many products have I touched from the time I awoke, left my flat and entered class?

Tre: Lecture Reflection #2 29.1.2010
Where Does Danish Design come From? What are it's Roots?

Otte: Lecture Reflections #3 9.2.210
The space between art and design... What is it?

Atten: Lecture & Reading Reflection 9.3.2010

"Furniture for the Whole World" By Erik Moller

Tyve: Lecture Reflection 10.3.2010
Guest Lecture: Fashion Design

Toogtyve: Lecture Reflection 12.4.2010

Civic Design

Toogtyve: Lecture Reflection 16.4.2010
Transportation Design

Femogtyve: Lecture Reflection 12.3.2010
Guest Lecturer Pernille Palsbro on Interiors

Seksogtyve: Lecture Reflection 16.2.2010
Objectifying Design


Symposia Reflections

To:
Symposia #1 Reflection 24.1.2010
Self-Critique of group lecture & reflections, thoughts on Ole Thyssen's Form & Distinction

Seks: Symposia #2 Reflection 2.2.2010

Design as a Tool for Marketing & Branding

Ti: Symposia #3 Reflection 12.2.2010

Democratic Design

Femten: Symposia #4 Reflection 20.2.2010
Craftsmanship & Mass Production

Seksten: Symposia #5 Reflection 6.3.2010

Tradition & Modernity

Enogtyve: Symposia #6 Reflection 15.4.2010
Danish Design Past to Present

Femogtyve: Symposia #7 Reflection 19.4.2010
Metro Diner- Danish Public Transportation

Syvogtyve: Symposia #8 Reflection 23.4.2010

Civic Design in Copenhagen


Reading Reflections

Fire: Reading Reflections 30.1.2010
"Design, is an integral part of the Danish," by Anne Marie Summerhayes

Fem: Reading Reflections 2.2.2010
"Danish Design- A Structural Analysis" by Anders Kretzschmar

Svy: Reading Reflections 8.2.2010
Danish Design edited by Svend Erik Moller pp 59-109, 133-134

Elleve: Reading Reflections 11.2.2010

"Danish Democratic Design (1800-2000): A tender birth of democratic design culture" By Jarl Heger

Tolv: Reading Reflections 14.2.2010

"Applied Art between nostalgia and innovation" By Kristian Berg Nielsen

Fjorten: Reading Reflection 10.3.2010
Text #4 in Compendium (pp. 40-56) Crafts and Experiments from PP Mobler's workshop for 50 years.

Nitten: Reading Reflection 9.3.2010

"Danish Fashion" By Marie Riegels Melchior


Field Study Reflections

Ni: Field Study Reflections #1 10.2.2010

Classic/Historical Danish Design compared to New/Contemporary Danish Design.

Tretten: Field Study Reflections #1 18.2.2010
Danish Museum of Art & Design: Post-War Period selection of Cecilie Manz Ladder (1999).

Sytten: Field Study Reflections #2 9.3.2010
Danish Design Center It's a Small World exhibit.

Treogtyve: Field Study Reflections #14.4.2010
Civic Design Gem






søndag den 14. februar 2010

Elleve

What is democratic design? Is designs that are accessible to all? Is it design that benefits everyone, like a public library? Is it a design that everyone can use like a band-aid? Is a design democratic merely because it is within most peoples financial capabilities? Is it something that is mass produced so many people can own one, like an Arne Jacobson chair? When considering all questions it is important that a very large part of democracy is the given right of choice. Who is responsible for designing democratically? The designer, the producer, the consumer? Many danish designers have adopted the ideals of "Social Art" or "Designs for the people," in which they create and produce with a wide variety of consumers in mind. Many Danish designers feel it is an integral part of what they do, to facilitate as many people as they can with their designs, so that all, the poor or the elite have accessibility to good designs. Betterment of life for all through design. This is a democratic choice made by many designers. To understand Democratic Design within in the Danish realm of thought we look to the past as a tool of understand how democratic design developed.

Back in the day the number of the elite who had accessibility to fine arts and beautiful designer were only 10%, while the remaining 90% consisted mainly of peasants. Peasants mainly had primitive crafts available to them. As with many things throughout history, one way to measure wealth was by what people could surround themselves with, leaving most people artless. During the middle 1700s Danish design was influenced by the french flamboyant Rococo style, in which asymmetry , elaborate carvings and natural motifs were of choice. Rococo's over the top, excessive quality is something we rarely see in Danish design today because during the Classicism Period people were encouraged to celebrate freedom and equality. When design took a turn to look back on classic architecture designers took note that there was beauty in simplicity and that design was an important part of all peoples lives. The turn to classical architecture and order was a result of the new democracy of the time...again design influences change in society. In the late 1700s the Danes returned to craftsmanship and started to develop an industry in producing designs. It was around this time that Gruntvig established the importance of education for the masses. It was his approach to education, whereas art and design were the most integral part in enriching ones mind, that the Danish people started to fully adopt a respect for the importance of accessible design, for all people Thus democratic design is born.

Simultaneous people started fusing many types of style within one space. Where during the Rococo time everything was ornate and over the top, now a single piece of elaborate furniture would be placed within a room. Eclectic style became a way of showcasing ones wealth and status. So there after the Dane's started setting precedence on  the functionality of design, based on the use of natural resources and efficient materials. During the beginning of the Functionalism period when designers considered the use and functionality of the product rather then the person they were creating in mind. When designs became less personal they certainly became more democratic...Everyone will use a knife the same way...if it he knife is created with the intention of function in mind, all users are considered equally or democratically rather. Around the time of the Bauhaus and De Stijl movement there was a large emergence of artists and craftsman in which minimalism and simplicity were favored. Essential items were being produced for people of all social classes while the quality of the work remained up to Danish par. Nothing was to be designed that wasn't necessary, as unusable objects were thought to be a distraction and clutter.

It took a few centuries for the Dane's to put a mark on their design. The Danes seem to pride themselves on quality, craftsmanship, functionality and designs that can be used by the masses. Comparatively to the American society, the Dane's practice within a very socialist society, in which the people are considered first. All for one, one for all... Or in this case one design, designed for all. Is that democracy?

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