A Quote by Laszlo Moholy-Nagy
Design... is the integration of technological, social, and economical requirements, biological necessities, and the psychological effects of materials, shape, color, volume and space.
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Designing is not a profession but an attitude. Design has many connotations. It is the organization of materials and processes in the most productive way, in a harmonious balance of all elements necessary for a certain function. It is the intergration of technological, social, and economical requirements, biological necessities, and the psychological effects of materials, shape, color, volume and space. Thinking in relationships.
Color is a powerful physical, biological, and psychological force. When less color and less intense color is present, trace amounts and subtle differences become highly significant and are strongly felt.
Fathers are biological necessities, but social accidents.
I have worked to free shape from its ground, and then to work the shape so that it has a definite relationship to the space around it; so that it has a clarity and a measure within itself of its parts (angles, curves, edges and mass); and so that, with color and tonality, the shape finds its own space and always demands its freedom and separateness.
This is what we've been waiting for: finally, an unprecedented critical analysis of the history of Dutch design. Mienke Simon Thomas's Dutch Design is a book to have and to read: an important and richly detailed study of the cultural, economical and social-political context of twentieth-century design in the Netherlands.
Color is a powerful physical, biological, and psychological force.
I wasn't interested in car parts per se, I was interested in either the color or the shape or the amount... Just the sheet metal. It already had a coat of paint on it. And some of it was formed.... I believe that common materials are the best materials.
If someday rockets should open the gates to space, then we must be oriented as to its environmental conditions and their possible biological effects. To study this, and to find means of protection, is one of the tasks of space medicine.
Today we are living in an intellectual and technological paradise and a moral and social nightmare because the intellectual level of evolution, in its struggle to become free of the social level, has ignored the social level's role in keeping the biological level under control.
The social dynamics of human history, even more than that of biological evolution, illustrate the fundamental principle of ecological evolution - that everything depends on everything else. The nine elements that we have described in societal evolution of the three families of phenotypes - the phyla of things, organizations and people, the genetic bases in knowledge operating through energy and materials to produce phenotypes, and the three bonding relations of threat, integration and exchange - all interact on each other.
In an ideal world, social responsibility would be a prerequisite for design, and designers would vow to produce beautiful, useful, positive, responsible, functional, and economical things and concepts that are meaningful additions to—or sometimes subtractions from—the world we live in. Indeed, design deserves such thoughtful consideration.
[The] dynamics of computational artifacts extend beyond the interface narrowly defined, to relations of people with each other and to the place of computing in their ongoing activities. System design, it follows, must include not only the design of innovative technologies, but their artful integration with the rest of the social and material world.
Whatever else we may say about sex, it is at least as much a social and psychological phenomenon as it is a biological one.
"You know you are seeing such a photograph if you say to yourself, "I could have taken that picture. I've seen such a scene before, but never like that." It is the kind of photography that relies for its strengths not on special equipment or effects but on the intensity of the photographer's seeing. It is the kind of photography in which the raw materials-light, space, and shape-are arranged in a meaningful and even universal way that gives grace to ordinary objects."
If you can design the physical space, the social space, and the information space together to enhance collaborative learning, then that whole milieu turns into a learning technology.
Flowers and flames. And color. Color as color, not as volume or light - only as color.
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