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Ousmane M’baye. MEUBLE DE CUISINE (KITCHEN FURNITURE), 2009. Galvanized metal, barrel lid 37 ½ x 5 x 24 ½ in. Courtesy of the artist. Photo: Ousmane M’baye
Balthazar Faye, Siège empilable Accolade, 1997. Contreplaqué d’aviation moulé à froid sous vide d’air et cordes. Hauteur: 77 cm
France/Sénégal. Collection particulière, © Archives musée Dapper et Hughes Dubois
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Balthazar Faye, Bar musical pour "Africa Remix", 2004 (Africa Remix Music Bar) Mobilier divers (technique mixte). Dimensions variables Collection de l'artiste. Droits réservés. Photo Lothar Milatz |
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Jules-Bertrand Wokam, Tabouret Tombouctou, 2005. Wengé massif sculpté et poli à la main. Hauteur: 40 cm. Cameroun. Collection particulière, © Archives musée Dapper et Hughes Dubois
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A gauche :République DÉmocratique du Congo, Iviart Izamba, Fauteuil Mobutu, 2005, Métal et peau, H. : 85 cm, Musée royal de l’Afrique centrale, Tervuren, Inv., n°HO.2011.54.1 © Photo Jo Van De Vyver, Mrac Tervuren © Archives Musée Dapper et Dominique Cohas - A droite : France / Mali, Cheick Diallo, Fauteuil Chekou, 2006, Métal et cuir., H. : 75 cm, Collection particulière © Photo Jo Van De Vyver, Mrac Tervuren © Archives Musée Dapper et Dominique Cohas
Yaka, République DÉmocratique du Congo , Appuie-tête, Bois et pigments, H. : 14 cm, Ancienne collection de Tristan Tzara, Musée Dapper, Paris. Inv. n° 2014 © Archives Musée Dapper – Photo Hugues Dubois
A gauche : Sénégal, Ousmane Mbaye, Patrimoine, tabouret XXL, 2006, Tubes galvanisés et fûts de pétrole, H. : 57 cm, Collection particulière © Archives Musée Dapper – Photo Hugues Dubois - A doite : Cameroun, Jules-bertrand Wokam, Tabouret Tombouctou, 2005, Wengé massif sculpté et poli à la main, H. : 40 cm, Collection particulière © Archives Musée Dapper Et Hugues Dubois
Akan / Akuapem, Ghana, Ville : Akuropon, L’Okuapemhene Nana Oseadeeyo Addo, Dankwa III, entre 1988 et 199, Photo de Daniel Lainé © Daniel Lainé / Cosmos
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Dieter Rams: ten principles for good design
Dieter Rams: ten principles for good design
from : LINK
Back in the early 1980s, Dieter Rams was becoming increasingly concerned by the state of the world around him – “an impenetrable confusion of forms, colours and noises.” Aware that he was a significant contributor to that world, he asked himself an important question: is my design good design?
As good design cannot be measured in a finite way he set about expressing the ten most important principles for what he considered was good design. (Sometimes they are referred as the ‘Ten commandments’.)
Here they are.
Good design is innovative
The possibilities for innovation are not, by any means, exhausted. 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.
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 emphasises the usefulness of a product whilst disregarding anything that could possibly detract from it.
Good design is aesthetic
The aesthetic quality of a product is integral to its usefulness because products we use every day affect our person and our well-being. But only well-executed objects can be beautiful.
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.
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.
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.
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.
Good design is thorough down to the last detail
Nothing must be arbitrary or left to chance. Care and accuracy in the design process show respect towards the user.
Good design is environmentally-friendly
Design makes an important contribution to the preservation of the environment. It conserves resources and minimises physical and visual pollution throughout the lifecycle of the product.
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 non-essentials.
Back to purity, back to simplicity.
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