The Industrial Design of iPods

In our modern society, we are constantly surrounded by millions of industrialized items. Such items include kitchen utensils, television, furniture, gaming systems, computers, and many other materialistic objects we have grown fond of and even dependent on over the years. However, the most iconic of industrialized items today is the iPod, one of Apple's numerous successful products. What makes iPods more preferrable over all the other music players out there? Is it because of the popularity surrounding the product? Or is it because of its simplistic yet effective design? Although some people may purchase the newest version of the iPod just to keep up with the ever-changing trends, we should not underestimate the power of clever designs.

When analyzing the features of the more recent "generations" of the iPod nano, we will notice that color variety is emphasized. The purpose of the wide selection of colors allows consumers to find the right one that fits their personality. The vibrant colors used also pop out at the consumers, calling for attention and creating a sense of liveliness that goes well with music lovers. Additionally, the body of the iPods have a smooth shiny texture. Aside from their chromatic aspects, iPod nanos have bilateral symmetry; if one were to draw a vertical line down the middle of the music device, one would find that the left side is a mirror image of the right side and vise versa. The click wheel of the iPod has continuity in the sense that an individual can find the “menu” option, then follow the line of the circle to find the other options such as “next,” “play/pause,” and “back.” A person’s eyes can simply follow the white or black circle to find all the functions he or she will need for a good music experience. When the iPod is turned off, the large rectangular screen contrasts with the usually white click wheel. This contrast serves as a color balance for the overall design, as well as the focal points. Moreover, the viewing screen is proportionally larger than the click wheel, making it easier for users to see titles of songs, play games, and more. Last but not least, the design of iPod nanos involves only features that are necessary for efficient functioning. Other than the screen, the click wheel, the plugs for earphones and the charger, and the “hold” switch, there are no extra buttons or slots. Just as Jonathan Ive said in Objectified, if something is not indicating something, it should not be incorporated in the design in the first place.

Overall, Apple is known for many of its industrialized products. The iPod nano is just one. However, due to its functional and appealing design, iPod nanos remain popular out of all the other music players being produced, continually becoming a material want for most music lovers.

*Photo taken from TechFresh

Signare

In Terzidis' article about the etymology of design, he describes the ancient Greek and Latin roots of the word design. Although the modern interpretation of design is of something for the future, the word design actually came from the Greek word schedon which means "approximately, nearly, almost," and has a rough translation as something that we once had but have no more. However, the Latin root for design, signare, impacted me the most. Signare means mark-making, a concept that many past, present, and future designers dream about doing through their works. As humans, we have a limited amount of time to make ourselves known, to leave a mark on this world as proof of our existence. Sometimes, inner turmoil caused by the injustice in society or the desire for freedom can amplify this desire even more, such as the time when Germany was split into the West and East by the infamous Berlin Wall post-World War II.

Even after the dismantling of the Berlin Wall in 1989, there exists a striking contrast between the West side and the East side of the wall. On the West side, which was controlled by democratric nations, the wall is covered by colorful art and graffiti that “expressed the politics of the cold war and made fun of the absurdity of [the wall’s] being.” However, on the East side, which was controlled by the communist Soviet Union, the wall remains blank and free of expression. Those who lived in East Germany were repressed from behaving as freely as the inhabitants in West Germany. Nevertheless, the strong hope for the reunification of West and East Germany was shared by the people from both sides, invoking the need to express their bottled up emotions. Therefore, certain West Germans used the Berlin Wall as a painting canvas, documenting the fear, anger, and hope felt during this historic period, essentially leaving their mark for future generations to look back and reflect on.

Undoubtedly, their art was and is evidence of their existence, a true practice of signare in the direst of times.

*Photo taken from here ; Credit to Berlin Wall Art: Wall Words

Interaction of Content and Form in Objectified

The ideas of form - how things are said - and content - what is being said - may seem simple and easy to understand. However, the application of form and content can be a little trickier. A person cannot just throw in random pictures that have nothing to do with the topic at hand. Even when the used pictures are relevant, it is usually insufficient when dealing with greater and bigger purposes that seek to make a difference or impact.

Take Gary Hustwit's documentary Objectified as an example. In his film, every detail is carefully thought out, ensuring that what he wants to say about design and the design process is actually being expressed in the clearest way. In order to do so, Hustwit took advantage of the power of the interaction of form and content.

For instance, the first minute of the beginning sequence of the documentary is entirely absent of verbal dialogue. The audience first sees a black screen which is later accompanied by the whirring and buzzing sounds of working machines. Following this is a series of visuals that reveal different aspects inside a factory, such as the intricate white swirl shavings of material on the floor, chains hanging from the ceiling, a metal funnel with a tube that springs to life after being operated, and a line of white industrialized chairs. All these elements create a form that addresses one aspect of the documentary’s content about the mechanics behind designs, allowing viewers to immerse themselves in the magic of designer dreams transforming into reality, a process that consumers rarely get to witness or experience. This successful introduction is followed by a narration that summarizes Hustwit’s main point that “every object, intentional or not, speaks the who for today,” effectively capturing the attention and admiration of the audience.

Hustwit also implements interviews with designers, such as Jonathan Ive, Dieter Rams, and Marc Newson, to reveal the thoughts and ideas that go through the minds of designers and how they solve the many problems associated with new designs. These interviews are also combined with scenes that illustrate what is being said, such as when Ive talks about the purpose for indicators on a product while the camera focuses on the glowing “on”  light located inconspicuously on the side of a MacBook. This technique of showing examples makes the major concepts in the documentary easier to follow. Furthermore, Hustwit occasionally films from an observer’s point-of-view, such as when the designers discussed about how hand tools (i.e. the pinchers) can be made more ergonomic. This enables viewers to feel like they are a part of the creative design process, further emphasizing the work and thoughts that go into every designed object we encounter in our lives.

[Jonathan Ive talking about the design of the MacBook]

Certainly, form and content require a very clear and well organized relationship to make a successful project like Hustwit’s Objectified.

*Photo taken from Objectifiedfilm.com