Design and Truth
From the Publisher. “If good design tells the truth,” writes Robert Grudin in this path-breaking book on esthetics and authority, “poor design tells a lie, a lie usually related . . . to the getting or abusing of power.”
From the ornate cathedrals of Renaissance Europe to the much-maligned Ford Edsel of the late 1950s, all products of human design communicate much more than their mere intended functions. Design holds both psychological and moral power over us, and these forces may be manipulated, however subtly, to surprising effect. In an argument that touches upon subjects as seemingly unrelated as the Japanese tea ceremony, Italian mannerist painting, and Thomas Jefferson’s Monticello plantation, Grudin turns his attention to the role of design in our daily lives, focusing especially on how political and economic powers impress themselves on us through the built environment.
Although architects and designers will find valuable insights here, Grudin’s intended audience is not exclusively the trained expert but all those who use designs and live within them every day.
Robert Grudin is professor emeritus in the English Department at the University of Oregon. His Book: A Novel was shortlisted for the Pulitzer Prize in Literature. He lives in Berkeley, CA.
From Sen no Rikyu, the 16th-century Buddhist priest who killed himself rather than acquiesce to a Japanese warlord’s demand that he compromise the purity of the tea ceremony, to Pope Paul V, who orchestrated the transformation of Donato Bramante and Michelanglo’s St. Peter’s Basilica into a bombastic, over-styled “baroque barn,” Design and Truth by the American philosopher Robert Grudin names and shames the heroes and villains, respectively, of design history.
The moral of the book is that designers should always be true to themselves, as Rikyu was, and never ever compromise, like Pope Paul V’s architectural patsies. “Good design enables honest and effective engagement with the world,” as Grudin puts it. “Poor design is symptomatic either of inadequate insight or of a fraudulent and exploitative strategy of production. If good design tells the truth, poor design tells a lie, a lie usually related, in one way or another, to the getting or abuse of power.” He then illustrates his point with a dazzling range of references, from the invention of the word “designare” in ancient Rome to Monteverdi’s Orfeo, Thomas Jefferson’s Declaration of Independence, Palazzo Te in Mantua, his own beloved 1956 Norton Dominator 99 motorcycle, the Twin Towers in New York, and an oversized fridge that fell on—and nearly crushed—a handyman called Les, who was hauling it out of the Grudins’ kitchen.
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