Combinations and arrangements Everything designed has an element of arbitrariness in its form. Loewy described how groups of his designers used to go about designing a new model automobile. Different groups were given different tasks, such as the front and rear of the car, and the conceptual work began, to be cut off at some predetermined time by deadlines that were imposed at the outset. After a time, there were "piles of rough sketches," and Loewy saw the design proceed as follows: Now the important process of elimination begins. From the roughs, I select the designs that indicate germinal direction. Those that show the greatest promise are studied in detail, and these in turn are used in combination or arrangements with one another. A promising front treatment can be tried in combination with a likely side elevation sketch, etc. From this a new set of designs emerges. These are then sketched in detail. After careful analysis, they boil down to four or five. Raymond Loewy, The Evolution of Useful Things Useless work on useful things drawing
Such an unholy alliance Something was wrong, according to Raymond Loewy, who admitted that, "with few exceptions, the [competitors'] products were good." He was "disappointed and amazed at their poor physical appearance, their clumsiness, and...their design vulgarity." He found "quality and ugliness combined," and wondered about "such an unholy alliance." ...Loewy was also "shocked by the fact that most preeminent engineers, executive geniuses, and financial titans seemed to live in an aesthetic vacuum," and he believed that he could "add something to the field." But, not surprisingly, the people he approached were "rough, antagonistic, often resentful." Raymond Loewy, The Evolution of Useful Things On TasteWe might as well make them beautifulRestrained beauty aesthetics
The inhumanity of contemporary architecture The inhumanity of contemporary architecture and cities can be understood as the consequence of the neglect of the body and the senses, and an imbalance in our sensory system. The art of the eye has certainly produced imposing and thought-provoking structures, but it has not facilitated human rootedness in the world. Modernist design at large has housed the intellect and the eye, but it has left the body and the other senses, as well as our memories, imagination and dreams, homeless. Juhani Pallasmaa, The Eyes of the Skin: Architecture and the Senses 1º2º3º4º architecturesensesmodernism