Stylish design

Streamlining in the scientific sense

Streamlining in the scientific sense is used for bodies that have little resistance or “drag” when put into motion through an external medium usually air or water. In the design context, streamline design refers to an important stylistic movement as well as a more general description of aerodynamic forms.

One quantitative measure of a streamlined form is “drag coefficient,” also known as cd value. The lower the cd value, the more streamlined the body. cd was once measured through aerodynamic experiments in wind tunnels that quite literally observed the course of stream “lines” in the external medium; today, modern technologies have made it possible to access this information through computer simulations. Such studies lent their name to Streamline Design, one of the most important stylistic movements in twentieth-century design, with its heyday during the 1930s and 1940s.

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History of transportation design

Transportation design is a concept that covers the design of all means of transportation, traffic networks, routes, and the services connected to them. The term is most often used in context with vehicle design, and sometimes in the English-speaking world it is used as an alternative to automobile design.

There is a recognizable trend toward increasing the role of design in all forms of modern-day popular means of transportation, from the plane to the boat, from the automobile to the truck and the train, from the bicycle to the motorcycle.

Individual components are assembled under a skin made of metal or plastic that offers functional and technical advantages, and that becomes another arena for design advantage and differentiation (Coating, Styling). Technology that relies on electronics has produced new functions and opportunities for comfort that have in turn been integrated into the design.

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Designers have always made deliberate references

Designers have always made deliberate references to earlier styles in their work. The popularity of stylistic revivalism reached a peak during the influential Arts & Crafts movement of the nineteenth century, and a low point during the early modern (Modernity) era, when designers began rejecting these references as reactionary and sentimental.

It was not until the 1950s and 1960s that older designs were rediscovered and repopularized as stylish and potentially inspiring for designers of the new age. During these decades, the numerous reeditions of prewar modernist works demonstrated their canonization as “design classics,” and the term “retro” was used for the first time to refer to designs that deliberately referenced a particular stylistic direction from the history of design.

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Design research includes theory and practice

Design research is vaguely defined; it includes theory and practice, process and drafting. There are various concepts of research manifested in different communities.

For several years the discussion in and around design research has grown enormously in importance: international symposia are organized where trends, methodical approaches and relevant research content are wrestled with and sometimes hotly debated. Design research is not pursued solely in academic environments and their communities but is gaining the attention of other institutions and companies as well.

Now design research has prevailed in the wider world as a necessary and self-evident component of the whole broad field of design. In contrast to the role of research in better-established academic disciplines, however, the concept of research in design is not clearly defined. It is increasingly evident how closely reflection and investigation about the profession areenmeshed with the concept and the design process.

There are few other well-established academic disciplines that question whether they can be justified as a field of scholarship which always logically implies research.

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My opinion about the purpose of design

Designers create objects that are used by people or, in other words, are simply needed. (When you need a streetcar ticket to visit a friend, you use a vending machine to purchase it). Use has both an inner motivational aspect (Need) and an external one when it comes to practical applications. When something can be described as being in use it can also mean that one normally uses it or completes it, when in the context of a form of practical activity.

The purpose of design is to produce an object or system to be used by a user. This applies to both product and communication design. The designer can create or encode (to use a semiotic term) objects with regard to one or more uses. This can be called monofunctional or polyfunctional design, and can be illustrated by using interior space as an example.

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Product design is a practice that involves the creation of objects

Product design is a practice that involves the creation of objects that are simultaneously functional and aesthetic. These products are not limited to a specific status, but extend from the mundane, everyday artifact to the exotic luxury item.

Toward that end, product designers often need to manage a wide range of expertise including ergonomics, manufacturing techniques, engineering methods, marketing strategies, cultural awareness, environmental issues, and aesthetic judgment. Although distinctions between product design and industrial design vary greatly depending upon different contexts, the former is often considered to be a subfield of the latter.

This categorization may be confusing to many because in practice the terms are used interchangeably and indeed, they encompass the same spectrum of output possibilities, ranging from domestic artifacts like furniture and tableware to mechanized products like electronics and appliances.

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Protest design is not a design direction in itself

It is a relatively new term that describes a stream of mainly younger designers, who reflect and comment on current social and political developments and events in their theoretical and practical work (Critical Design).

These designers primarily react to specific political actions taken by countries and governments that cause protest.

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Research into networks has also shed light

Network theory, generally, has come to prominence only in the late twentieth century, and its rise parallels the growth of the World Wide Web one of the most visible examples of a network.

From terrorist organizations to brain functions, from community building to business models, researchers are discovering powerful new explanatory possibilities for network theory across diverse social and organizational enterprises.

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The difference between plagiarism and counterfeiting

Plagiarism (Latin plagium = kidnapping, abduction), as it relates to design, is the more or less exact copy of an existing artifact which is then released on the market under the plagiarist’s name.

The plagiarized goods may even come with logos or labels that are similar in appearance to that of another brand or company, thereby causing additional confusion for the consumer.

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Innovation in design is a change in the development

Innovation in design is a change in the development, production, distribution, or use of an artifact, environment, or system that is perceived as being different from its precedents by its proposed users or target audience (Target Group).

In this context, innovation is distinguished from “invention,” in that it can only be truly understood by examining a contribution’s precedents as well as the consequences it creates.

In other words, an innovation can only exist in a continuum, defined not only by what comes before it, but how it is received. For instanceregardless of how strongly a product or process breaks with convention, it can only be described as innovative if the public responds to it as such. Indeed, many of the most innovative designs of the twenty-first century were made possible not by radical breakthroughs in technology, but by the cross appropriation or reapplication of existing technologies and methods across markets (Crossover, Redesign).

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Intelligent Backup Software

How intelligent do we want the backup software to be? Well, let’s speculate. First of all, let’s all agree that backup administrator isn’t the most appreciated position in the company. In fact, the only time we seem to hear any kind of comment is when there is a problem. In most cases, we find ourselves having to track down problems that may have been introduced by an undocumented system change thanks to a hasty system administrator who wanted to get his weekend started a little bit early on a Friday afternoon.
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