11. III. What are the differences between the design of things and design of places?

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14. Things

15. Things include packaging design, product design, industrial design, shoe design, fashion design, ceramic design, jewellery design, glass design and automotive design.

16. Designers concerned with 'things' are predominantly designing in a three-dimensional environment. In this category there is a spectrum of professionals from the pure artist craftsmen, ('making' in this sense is often related more to artistic expression and creation) and. to the commercially oriented oesigncr who is designing for a market and an end user. There are also designers who work in between these extremes, those who design and produce on a small-batch basis. All these designers are concerned with three dimensional form, line, shape, texture, properties and materials, and depending on their specialism the functional and user qualities of the 'thing'.

17. One of the most recent issues for 'thing' designers is the impact of new technologies. These can be in relation to: the act of designing, that is, the use of computer aided design and virtual reality; the manufacture, such as rapid prototyping and robotic manufacture; and the materials, for example the advent of smart materials or the use of new textiles.

18. As with the 'messages' category, some design disciplines in this area are merging with professions outside their specific field. This is particularly evident in product design. Product designers are involved with the entire innovation process, interfacing or merging competencies in electrical engineering, mechanical engineering and software development. Such an example might be Speck Product Design in California, whose principal, Craig Janek, not only

19. designed but also developed and sold a flexible wearable computer to Via Inc.

20. Designers of things' therefore must be equipped with the skill to understand the requirements of the manv stakeholders concerned with the creation and use of the 'thing'. They must be able to extract these requirements, interpret and synthesise them; use problem-solving abilities to isolate the key issues; use

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25. design need or problem. They must also use visualisation skills to illustrate and communicate the concept for effective manufacture and user adoption.

26. Places

27. This includes interior design, theatre design, retail design, exhibition design and set design. Designers of 'places' work in two- and three-dimensional environments. They are concerned with the interaction between the human and the environment - the scale, shapes, images, colours which all affect the senses. Work in this area goes from the simple shop window to the multi-sensory 'insane' exhibition, such as the winner of the ID Annual Design Review 1996 in the category 'environments'. This was housed in the headquarters of a small German electric company: the designers used sophisticated electronic circuitry and tight weight aerospace materials, they used glass tubes as part of a helio-organ which played cacophonous music when sunlight -bounced by means of mirrors and prisms is interrupted. There was a solar timepiece, a large rotating disk where sunlight burns a continuous trail. Each disk lasts a season and, in the * ^en^ fiⁿ*^a*^{ns a} three-month record of the sun's intensity. Every piece of apparatus has a remarkably logical explanation.

28. The designers (Hodgetts & Fung) intended each element to provoke visitors into meditating on the idea of solar power - and imagining what the earth might be like without the sun's rays. The jurors described the work to be not the work of contemporary designers but of mad scientists.

29. This example illustrates well the trend in this area of the design profession towards the increased influence of technology as a medium of expression and therefore designers again are developing technological-based skills or are working in an environment with other disciplines, being less reliant on craft-based making skills.

30. Designers of 'places' must once again have the skills to understand a comprehensive set of design requirements, to extract them from the 'place' stakeholders, that is, client, customer/user and manufacturing/construction teams. They must use visualization skills to manipulate colors, texture, shape, light, sound and odors to create the environment, the 'place'. They also require communication skills, both verbal and visual, to explain the concepts to the stakeholder audience.

31. Desisiners nlav a nivotal role in thp crpnt j on of thr* material world. For designers working within the realm of places, messages and things, there are common influencing factors - technological change, environmental change and market change. These are not only changing the nature of the profession, but also making demands on it. It has now been recognised by the design profession that design skills are an important part of their services, but in conjunction with a combination of management and business skills. The trend is towards design being part of the multifunctional team armoury to enable them to integrate with scientists, organizations and psychologists etc and use their combined knowledge to create the most appropriate and effective design solution.

32. Public spaces are frequently subject to overlapping management responsibilities of multiple public agencies or authorities and the interests of nearby property owners, as well as the requirements of multiple and sometimes competing users. The design, construction and management of public spaces therefore typically demands consultation and negotiation at a variety of levels, and urban designers rarely have the degree of artistic liberty or control sometimes offered in design professions such as architecture. It also typically requires interdisciplinary input with balanced representation of multiple fields

33. including engineering.

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38. The trend toward the designer working in a multifunctional another sense driven them to further specialization. The design prof the skills they need are being defined further by the sphere in whi< now operate. For instance, product/industrial designers operate in m< industry but are further specialized into consumer products, industr: medical products, equipment and transport design. As competi environment increases, so does the demand to add something extra, must not only answer the design brief but also translate design value must therefore be in tune with the product environment and its stake!

39. The Ultimate Go al of Design Is to Transform the Environment i Human Beings, and Reform Human Beings Themselves. Hum civilization: Culture, industry, and history are the result of hui However, for some time now they have been estranned from their ■ the 20th century, these concepts degenerated into "tools".

40. The fast-paced postindustrial society seems to have forgotten h are defined as consumers and ranked within numerical brackets statistics. Have human beings degenerated into 'tools' like that in age? Futurist Alvin Toffler said that the third wave of a revolution, of being" would follow the second wave of a "revolution of owr humanitarianism would be the most important goal of a future societ challenges are still being posed to human integrity. One of thei cloning. Cloning may be an enemy of humanitarianism. Louis Sull century architect, said "Form follows function". However, future des based on humanitarianism instead of function. Right now, univei which put a great deal of stress on usability for all people regardles

41. ability, are warmly welcomed. Designs which were intended to be 'flowers of industry' are now being transformed into 'vessels of the human soul'. There must be a change of the consumption-oriented focus, which was based on business' profits and trends. Future designs will be based on a more harmonious relationship between humans, and between humans and nature. 1. Say whether the following statements are true or false:

1. Designers concerned with "things'* design work in a five -dimensional environment.

2. The technologies of modern designers are "as old as the hills".

3. Designers of "things" are not interested in the innovation process of industrial development.

4. Designers of "places" don't consider the human interests.

5. Designers don't play an important role in the creation of the material world.

6. The design profession doesn't depend on the increased influence of technology.

42. 7. Future designs will be based on functions instead of humanitorism. 2. Give the brief account of the texts.

43. TEXT 3

44. Read the text and answer the questions:

1. What building is being designed?

2. What city is it situated in?

3. What will it look like?

4. What new ideas and new techniques will be used?

45. Lnndini Associates Styles Mstrods 102 Convenience Store Harrods is set to open its new retail concept Harrods 102 next week. The 800m² premium convenience store has been designed by Australian design group Landini Associates, which has also created the brand identity and design

46. guidelines.

47. Landini Associates was appointed to the project last May without a creative pitch. The design work has been handled out of Landings main Sydney studio and delivered to the UK client via its London office. It is a significant project for a consultancy based in Australia and arguably Landini's most important UK job since it was founded by Mark Landini 33 years ago.

48. Due to open adjacent to Harrod's tlagship on London's Brompton Road, the store will feature a number of concessions and will integrate health and beauty with food for the first time.

49. ivcy interior **esign ^eaiures will cc a scries cf ceiling rafts running inc width of the store and groups of'walk in* stores and services. There will also be a muiti-cash desk towards the tront oi the store, incorporating a concierge desk.

50. This "7-11 convenience store' concept may be used as a test bed for further sites across the UK and international markets. Harrods director, Susanne Tide -Frater, and director of food and catering Didier Souillat have jointly overseen the project.

51. Entrepreneur Simon Woodroffe is set to make a raft of appointments, drafting in designers to work up concepts for Yo! Zone, the spa and nightclub business, and Yo Home, as the original start-up business, restaurant chain Yo Sushi, continues to trial fresh dining concepts.

52. In an exclusive interview with Design Week, Woodroffe says he is 'talking to designers at the moment'to help develop potential blueprints for his multi­purpose, branded home venture, Yo! Home. He explains that the concepts will be based on 'mechanical ideas', which draw on his experience as a stage set designer.

53. Designs for Yo! Zone have been drawn up, but Woodroffe says he is yet to make an appointment. Its flagship is likely to be located at the Battersea Power Station, which is currently being redeveloped by Parkview International.

54. We are in conversation with Battersea, but nothing is signed. Yo! Zone will be available at an affordable price. It will be the Glastonbury of the spas, 'he adds. Meanwhile, Yo! Sushi is gearing up to launch an alternative restaurant format for the chain, based on a cafe and tea concept, in an attempt to broaden the Japanese restaurant's appeal. The site, based at Bluewater shopping centre, will serve cakes 'with a Western slant, if successful, the format will roll out across iheYo! Sushi estate. The restaurant launches in April.

55. Separately, Yo! Sushi is continuing with its ambitious expansion plans, as the company prepares to enter the US market. According to reports, Yo! Sushi aims to open up to 300 sites in America. Designers have not yet been appointed to create the interiors for the US-based chain. Make the sites different and eschew the cookie-cutter format, the adds. A host of Yo! Sushi restaurants are also set to launch across the UK, including a site at Harrods, as part of its 102 food offer, designed by Dryburgh Gillian Associates, and a restaurant at Selfridges, designed by Philip Watts Design. The consultancy replaces Priestman Goode, which was originally earmarked to undertake the refurbishment.

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58. Read the text and say what the main idea is.

59. Food Labelling

60. The decision by half a dozen multinational companies to design their own food labelling system caused minor ructions in the retail world, but the design world had a tew things to say too. Forget TV dinners - the jumble of labelling systems being designed at the moment is going to make pack fronts look more like a dog's dinner

61. Regardless of your position on the virtue of the labelling initiative, design has come out second best all round. Brand packaging stalwarts aren't happy, because the initiative compromises the integrity of front-of-pack design altogether, and information designers aren't happy because few of the design

62. formats are working effectively anyway.

63. Duckworth points out that the American system uses the back of the pack, and works because it is standardized and regulated bv the Food and DniP Administration. It's not all that pretty, but it's a clear system and you can't dress it up to hide things you would rather not show, he says.

64. Richard Murray, director of Williams Murray Hamm, agrees and wonders

65. if retailors haven't hf»oim look; in a 2$ this whole* ягря to trv to '«^лгр nnintc rather

66. than out of concern about eating habits.

67. Boag Associates director Andrew Boag believes the system has to interface well with packaging and brand needs, maintaining integrity, while not stifling brands and their presentation on packaging. But Boag is concerned about many of the design practicalities as well, such as the legibility of type and images, issues around colors blindness, and whether consumers are able to relate the system to recommended intakes as a result. Most importantly, though, Boag is convinced there needs to be a standardized system, which is thoroughly tested, so that consumers can make simple and effective comparisons.

68. Perhaps the FSA went too far in attempting to force manufacturers to 'discredit' their own products with red lights, but, without the independent watchdog on board, the risk is that design could be used to soften the blow of harmful ingredients. According to Jane Ho Ids worth of food consulting group Sponsus, which is coordinating the consortium's work on nutritional labelling, an effort is now being made to design a single system, for use across all the big brands.

69. It remains to be seen if the coalition will adopt a single design across all products, brands and packs, and whether information design issues have played a central role in the objectives of the big five.

70. One chief concern, laid at the feet of the rival scheme, is that by side­stepping the FSA, the coalition is not seeking to harness the trust of an independent, credible body. The problem then is that design can be wielded as

71. much for commercial gain as for providing, easy and simple communication. Answer the questions:

72. 1. What initiative was taken by multinational companies concerning the labelling system for food packing?

73. 2. Why are food packing stalwarts not happy?

3. Is the American system of the back-of pack and the front - of - pack standardized and regulated by the food administration?

4. What is the risk sometimes of using ''red lights" on food packs for manufactures?

74. 5. Are **red lights" useful for consumers? What do they mean?

75. . 6. Is the new initiative more profitable for manufactures or for

76. consumers:

77. TEXT 5 City Modem

78. A look of stark contrasts, City Modem is based on monochromatic ^single-colour*^ schemes. It is best suited to urban liviiv*.

79. A combination of streamlined styles from both past and present, the xurniture and accessories tor me City iviodern looK are primarily angular ш shape. At the window, Venetian blinds or tailored roman blinds arc the most suitable. They still let light enter while maintaining privacy and allowing the

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81. Colours too are functional, being predominantly black or grey, with chrome trimmings on the furniture. Accent colour is kept to a minimum, often seen in simply-shaped vases that are carefully placed, or large abstract prints hung on the wall.

82. Furniture has clearly defined edges with minimal detailing. Cabinets are either glass-fronted to show off the contents - a few pieces of ceramic or chrome objects - or plain-fronted to hide away any clutter.

83. Dining tables are clean-looking, stained, often with metal legs. Tablecloths are abandoned in favour of showing the stained - often black - wood

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85. Upholstered furniture should be confined to sofas which are long, low-backed and covered in neutral colours such as grey or black. Ihere are few

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87. and leather chair.

88. Lighting is an important aspect of this look as it must be both decorative and functional. Floor and table lamps have a 1930s feel, as do simple chrome such as tulips or arum lilies, or a dramatic leafy plant. Chrome kitchenware ties in with tubular steel furniture.

89. Smart and sophisticated, this style is strongiy defined and uncompromising. Its uncluttered iines are ideal for city flats, where space is so often at a premium.

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91. Soft Modern

92. Up-to-date and streamlined as it is Soft Modem is the essence of comfort. It's a light airy look by day that is transformed by subdued lighting - lots of shaded table-lamps and candies, no overhead lights - into a warm atmospheric look at night time. This is a style that suits almost any type of home, whether old or new. Architectural details are unimportant because you can use wallpaper borders in place of non-existent features - at dado or picture-rail height, for example.

93. Colours are predominantly pastels - sometimes almost bleached out; at other times warmer but still subdued, like dusty pink. They are used with small amounts of earthy shades and stronger accents.

94. Patterns are mixed with patterns, but they are soft and blurred so that nothing clashes. Traditional motifs such as chevrons, checks and trellises, live

95. happily side by side with abstract designs that imitate textures and small smudgy florals. Subtle fabrics are used in profusion -on windows as well as for upholstery. Tailored roman blinds look neat but generous. So do the simple curtains that hang straight or are held with tiebacks.

96. Walls are covered with papers of gently patterned designs. Or they- are painted in soft shades using the popular techniques of ragging, dragging and sponging. Woodwork, too, is often subjected to this subtle treatment. Fireplaces are generally painted. Ceilings are invariably white to increase the feeling of space and light while the floors are close-carpeted or of light-coloured wood.

97. Finishing touches are stylish too: ceramics with crackle glazes, rounded shapes or strangely angled; table lamps with big conical shades; vases of tall blooms; tailored cushions trimmed with piping; pale rag rugs.

98. As we enter the third millennium, it is clear that conventional room divisions and domestic hierarchies, which have been in place since the eighteenth century, are less and less suited to the modern lifestyle. The manner in which we spend our leisure time has changed dramatically, particularly in the last five years, rendering sitting or living rooms things of the past. Formal social • "tiT^c-*• о" bns bee" T"cri!«iced hv relaxed sstherin&s of frien^*¹ and ^smi^' *ⁿ loose spaces, indoors and out.

99. Nowadays we tend to use the same room for socializing, watching television or using the Internet, and even cooking and eating. It is this variety of activities that offers the greatest challenge to furnishing the central living space cohesively and uniformly. On the one hand it is difficult to achieve spatial purity in a place where so many activities happen and that is the showpiece of our personal style. On the other hand room sizes have grown and open-pian layouts in houses and apartments are increasingly common, making it much easier to establish an ambience of openness, lightness and order.