From Lighting to Offices: Why Were They Designed This Way?

Design, as presented in Kim Shin's "Design Museum," is not merely about aesthetics but is fundamentally rooted in human needs and the historical evolution of our environment. The book argues that from the earliest stone tools used by Australopithecines to sophisticated AI, humanity has consistently modified nature to suit its purposes. Design is framed as "an age-old human method for building a convenient and beautiful life."

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Life, Handling, Recording, Seeing.

The book is structured into four thematic sections: 'Living,' 'Handling,' 'Recording,' and 'Seeing,' each exploring the origins of familiar objects and spaces. It traces the development of lighting from primitive torches to controlled electric illumination. The transition to electric light, while enabling widespread access, introduced the challenge of managing its harshness. This led to the development of lampshades, initially functional, which evolved to incorporate aesthetic elements, as seen in the work of Danish designer Poul Henningsen.

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The history of artificially creating light was a stepping stone for civilization's development, reaching a point where we can now control not only its intensity and direction but also its properties whenever needed.

Similarly, the evolution of office design is examined through the lens of changing work philosophies. Early office layouts, influenced by Taylorism, emphasized surveillance and efficiency, leading to standardized desks and partitioned cubicles. Later, a shift towards knowledge work and collaboration spurred designs like Herman Miller's "Action Office," intended to foster creativity but often criticized for creating isolating "chicken coops." The current trend leans towards more open, collaborative spaces, dismantling partitions.

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The 'Action Office' design, which focused on securing flexible personal space, was a product of emphasizing communication and sharing among creative 'knowledge workers.' However, it was criticized for its perceived closed-off nature, leading to the 'chicken coop' label.

"Design Museum" also delves into the history of signage, such as the US Department of Transportation's sign set designed for passenger and pedestrian convenience. Through these examples, Kim Shin illustrates how design responds to specific societal demands, technological advancements, and philosophical shifts. The book highlights the modernist principle of "universality", design that is affordable and universally acceptable, as a driving force in making better products accessible to more people.

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It should not be too expensive, and anyone should be able to accept it without objection.