{"id":5996,"date":"2021-03-02T16:57:01","date_gmt":"2021-03-02T15:57:01","guid":{"rendered":"https:\/\/beautytherapy.absolution-cosmetics.com\/act\/harmonie-design\/"},"modified":"2024-12-09T08:37:09","modified_gmt":"2024-12-09T07:37:09","slug":"harmony-design","status":"publish","type":"post","link":"https:\/\/beautytherapy.absolution-cosmetics.com\/en\/wellness\/harmony-design\/","title":{"rendered":"Living in harmony : the search of design"},"content":{"rendered":"
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From the fifties to the present day, design has brought us modernity through harmonious and optimized goods<\/a>. A founding figure of industrial design, Raymond Loewy is remembered for his aesthetic of simplicity, still prevailing today. From his vision to a more contemporary approach, we offer a perspective on harmony in the design field.<\/strong><\/p>\n <\/div>\n <\/div>\n <\/div>\n\n <\/section>\n\n

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There are lives that alone embody the spirit of an era, with its good and its bad. Raymond Loewy is one of them. Born in 1893, he has lived through the birth of the automobile and aviation industry, shaping the American dream and consumer society. Founder of \u201cindustrial aesthetics\u201d, this Frenchman who emigrated to the United States in 1919 was known to be the creator of industrial design, thanks to his drawing talents and his mastery of public relations. He came up with the concept of MAYA <\/strong>(\u201cmost advanced but acceptable<\/em>\u201d), that is, the idea of pushing as far as possible for modernity in a design while ensuring its adoption by the greatest number. An instant success that allows him to boast, in his 1952 autobiography, that 3 out of 4 Americans use his creations on a daily basis. From locomotives to pencil sharpeners, the designer worked for almost all the giants of mass production including Lucky Strike, Exxon, Monoprix, Shell, Lu or Newman for which he drew the well-known logos. For many years, his work allowed for the myth of technical progress to full swing.<\/p>\n <\/div>\n <\/div>\n <\/div>\n\n <\/section>\n\n

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Alors que les machines se complexifient pour r\u00e9pondre aux besoins des consommateurs (et en cr\u00e9er quantit\u00e9 de nouveaux, au passage), Loewy parvient \u00e0 imposer l\u2019id\u00e9e que l\u2019apparence d\u2019un objet doit avant tout \u00eatre simple. Comme la peau<\/a> recouvre la m\u00e9canique complexe du corps humain, l\u2019enveloppe des objets techniques se doit d\u2019\u00eatre \u00e9pur\u00e9e, ses courbes lisses et harmonieuses. Ce souci de l\u2019esth\u00e9tique a pour but de faciliter la relation entre les objets et leurs usagers<\/a>. Interm\u00e9diaire entre l\u2019ing\u00e9nieur qui le con\u00e7oit et le public qui l\u2019utilise, le design rend l\u2019objet non seulement acceptable, mais d\u00e9sirable.<\/p>\n <\/div>\n <\/div>\n <\/div>\n\n <\/section>\n\n

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“Design seeks well-being, whether in transportation, habitat or interior decoration<\/em>“, summarizes Pablo Goury. “The shape of an object must serve its function and be self-evident. The whole difficulty is to produce an object which appears simple, but can be very complicated in its making. Long after Loewy, Apple has massively imposed simplicity in current design (think about the single button of the iPod!)<\/em>“.<\/p>\n <\/div>\n <\/div>\n <\/div>\n\n <\/section>\n\n

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Trained in industrial design before turning to interior architecture, scenography and even jewelry, Pablo Goury<\/a> has developed a multidisciplinary approach to design. To him, design is a creative process that intersects craftsmanship, industry and art in order to solve a problem. Playing with a set of constraints (material or budget-wise, but not only) is an essential part of the job.<\/p>\n\n\n\n

Portrait of Pablo Goury by Olivia Rutherford.<\/em><\/p>\n<\/div><\/div>\n <\/div>\n <\/div>\n <\/div>\n\n <\/section>\n\n

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Taking into account brand image and modes of production is necessary to ensure the success of a creation. “At the beginning, we only want to draw very beautiful objects, but very quickly we realize that harmony is only achievable when targeting a concrete problem<\/em>“, he says. \u201cIf I design a really beautiful but uncomfortable ring, I consider it a failure. So my job is to make it comfortable, without altering the harmony of its shape. Because in design, you don’t draw for yourself but for others<\/em>\u201d.<\/p>\n <\/div>\n <\/div>\n <\/div>\n\n <\/section>\n\n

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Une publication partag\u00e9e par Le 371 (@le371ruedespyrenees)<\/a><\/p><\/div><\/blockquote>