VICTIMS OF TECHNOLOGY AND DESIGN

Design can not be accomplished without relationship with material and production technology as well as form, function and aesthetical concerns. In the former century new forms in design have been derived thanks to developments of material forming methods. Improving new material and production methods affected the design directly and positively. Innovation is attained by new ideas and technological possibilities.

To manufacturer and designer mass production, continously progress in technology, globalism and raising competitive market  are  compulsive circumstances for adaptation to new age.  Technology is also the most competitive component for the market. Technology is represented as a ‘trend’ and the product which have new technologycal features are imposed to the consumer. Technology and design are ‘instruments’ to provide production and consumption balance. Consumption has been attracted by defined or exposed yearly trends. The product which has recent technology is to be a status symbol. Imposed meaning for product and its social role are important factors in preferance. Although technical features and tecnnology of product are emphasized on marketing, consumer is more interested in ‘status’ that he will gain.

Products that become ‘desire objects’ are changing rapidly by technology and old ones are being unwieldy and useless. While the designer led the technology in the early 1900’s,  today he is concerned about catching the technology. On the other hand, designers are trying to answer new requirements generated from technology. Hovewer, this order of production-consumption cycle causes social disorder. Does not this order lead to cultural alienation and isolation by products considered as ‘meta’ and does not it cause some delusions such as identifiying personality through a product/a brand, considering that technology can solve all problems? Are not designer and user both technology victims?

This paper takes attention to victims of design which turns into a tool for production-consumption cycle, and of design products which are imposed as ‘meta’. Furthermore, it aims to discuss how design can be used for sake of social benefits, and to encourage a design and production approach that natural and financial sources can be evaluated more efficiently for society instead of the design approach that encourages continuous consumption.

References:

Foster, Hal; Design and Crime (and other diatribes), Verso Edition and NLB, 2002.

Barnard, Malcolm; Art, Design and Visual Culture: An Introduction, St.Martin’s Press, 1998.