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Llanishen Tech IVE v's RAMS

Becketts 1st

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Transcript of Llanishen Tech IVE v's RAMS

Jonathon Ive
Jonathan Ive is the genius designer behind most of Apples product line, including the iPod. What most people don’t realize is that he gets his inspiration from another design genius named Dieter Rams who during the 50s & 60s designed a lot of amazing products and concepts for Braun.
Dieter Rams
1. should be Innovative
2. makes a product useful
3. has to be aesthetic
4. makes a product understandable
5. is honest
6. is unobtrusive
7. is sustainable
8. is consequent
9. should be ecofriendly
10. last but least good design is to be as little design as possible
Good Design
What's wrong with designing?
What is good design?
"1960's Braun Products Hold the Secrets to Apples Future".
The forms predicated upon Ives and Ram's work are founded in geometric simplicity. These forms are not owned by any one designer, and it is promising that the heritage and respect for restraint when designing complex products is being honored.
"The year 2008 marked the 10th Anniversary of the iMac, the computer that changed everything at Apple, hailing a new design era spearheaded by design genius Jonathan Ive.

What most people don't know is that there's another man whose products are at the heart of Ive's design philosophy, an influence that permeates every single product at Apple, from hardware to user-interface design.

That man is Dieter Rams, and his old designs for Braun during the '50s and '60s hold all the clues not only for past and present Apple products, but their future as well.
Why do design?
More Apple
Apple Factory
Apple Macbook
The Golden Ratio
- Dieter Rams
morally excellent; virtuous; righteous; pious: a good man.
satisfactory in quality, quantity, or degree: a good teacher; good health.
of high quality; excellent.
an outline, sketch, or plan, as of the form and structure of awork of art, an edifice, or a machine to be executed orconstructed.
the combination of details or features of a picture, building,etc.; the pattern or motif of artistic work
the art of designing: a school of design.
a plan or project: a design for a new process.
intention; purpose; end.
adaptation of means to a preconceived end.
10 commandments for Good Design
Looking back over 2009 there were several articles within the design press reiterating Dieter Rams’ strategy of “Good design is as little design as possible”. Of all Rams’ design principles, this one rings truest for me.
Rams literally shaped our world with his radical industrial and product design at Braun, so if you thought the iPod was cool, you should see the work of the man who designed the first hi-fi over 50 years ago… They say ‘imitation is the sincerest form of flattery’ but as much as I love their products, Apple and Jonathan Ive have a lot to thank Rams for. Here are some choice examples of Rams’ work:
Taken from metropolismag.com.

Dieter Rams: “I have distilled the essentials of my design philosophy into ten points. But these points cannot be set in stone because just as technology and culture are constantly developing, so are ideas about good design.”

1. Good design is innovative.
Technological development is always offering new opportunities for innovative design. But innovative design always develops in tandem with innovative technology and can never be an end in itself. When designing the shelving system, I had the idea that it should be like a good English butler. It should be there when you need it but be in the background when you don’t.

2. Good design makes a product useful.
A product is bought to be used. It has to satisfy certain criteria, not only functional but also psychological and aesthetic. Good design emphasizes the usefulness of the product while disregarding anything that could possibly detract from it.

3. Good design is aesthetic.
The aesthetic quality of a product is integral to its usefulness because products we use every day affect our well-being. But only well-executed objects can be beautiful.

4. Good design makes a product understandable.
It clarifies the product’s structure. Better still, it can make the product talk. At best, it is self-explanatory.

5. Good design is honest.
It does not make a product more innovative, powerful, or valuable than it really is. It does not attempt to manipulate the consumer with promises that cannot be kept.

6. Good design is unobtrusive.
Products fulfilling a purpose are like tools. They are
neither decorative objects nor works of art. Their design should therefore be both neutral and restrained, to leave room for the user’s self-expression.

7. Good design is long-lasting.
It avoids being fashionable, and therefore never appears antiquated. Unlike fashionable design, it lasts many years–even in today’s throwaway society. I live with the shelving system. It’s the only way I can improve it. I’m proud when I get letters from users who say they bought system in 1962 and were able to add elements to it as their needs grew and changed.

8. Good design is thorough down to the last detail.
Nothing must be arbitrary. Care and accuracy in the design process shows respect toward the consumer.

9. Good design is environmentally friendly.
Design makes an important contribution to the preservation of the environment. It conserves resources and minimizes physical and visual pollution throughout the life cycle of the product. A few years ago I had the crazy idea that gas stations should not only be places to buy gas but locations where you could return goods for recycling. Companies have the technology; the problem is finding ways for users to be able to return a product at the end of its life.

10. Good design is as little design as possible.
Less but better–because it concentrates on the essential aspects, and the products are not burdened with inessentials. Back to purity, back to simplicity!
In more detail...
Dieter rams was born may 20, 1932 in Wiesbaden, Germany.
In 1947 he enrolled in architecture at the 'werkkunstschule wiesbaden' for one year, after which he left school and learned the carpenter’s trade.
he graduated in 1953, and then collaborated with otto apel’s architecture firm for
three years.
In 1955 he got a job as an architect and interior designer for braun,
founded in 1921 by max braun, and in 1956 he began to design products for them.
In 1957 he started to design furniture projects for 'otto zapf'
(since 1959 'vitsoe & zapf', 'wiese vitsoe' and since 1995 'sdr+').
In 1961 he became the head of the product design and development division at ‘braun’.
In 1968 he became the design and production manager, and in the same year he was awarded the title 'royal designer for industry' by london’s 'royal soceity of arts'.
In 1978 he won the ‘siad medal’ by the society of industrial artists and designers,
From 1981 to 1997 he taught at the 'hochschule fuer bildene kuenste' in Hamburg.
In 1984 he began to collaborate with ‘de padova’ in milan, reworking his classic
'universal shelving system 606', produced by vitsoe in wood and steel, to be able
to produce it in alluminum.
1988 he became executive director of ‘braun’, until 1997.
1991 he was awarded doctor honoris causa by the 'royal college of arts', london
1996 he won the 'world design medal' by the industrial designer soceity of america.

Most of his designs for ‘braun’ have become part of the permanent collections of many prestigious international museums, his pieces are at the 'moma', new york, the 'werkbund archiv', berlin, the 'victoria & albert museum', london, the 'stedeljik' museum amsterdam ...
he has been awarded many prizes, like the 'compasso d'oro' and the 'medaglia d'oro' at the milan triennale, the 'gute form' prize and the 'rosenthal studio preis'
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