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Simplicity: A Matter of Design
As the world becomes increasingly complex and complicated, simplicity is increasingly in demand. We all seek simplicity in small or large measure. We strive to create simplicity at work and at home. A Matter of Design offers a set of terms that allows us to discuss simplicity in design with precision. It looks into the basics of simplicity and researches more in depth three aspects of functionality (simplicity for comfort), aesthetics (simplicity for pleasure), and ethics (simplicity for conscience). There is an extra chapter on simplicity in communication.
- GenresDesign
192 pages, Hardcover
First published November 10, 2015
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February 6, 2017
KISS KISS KISS
To me, Per Mollerup's exquisite book "Simplicity:A Matter of Design" takes us even further, both in the simplicity of the books structure and design, than John Maeda's book "The Laws of Simplicity" which was the result of a blog he wrote between 2006 and 2013 thanks to his preoccupation with the notion of 'simplicity' as a key aspect of design, technology, business and life itself. Maeda, of the MIT Media Lab, came up with 10 laws and 3 keys of simplicity. If you give Maeda's book a read, you will come upon a number of meaningful insights and examples. But, you must then compulsorily turn to Mollerup's book. It goes further on up the road.
For instance, the book begins with Mollerup coming up with an exquisite analysis of the notion of the 'simple' and then a working definition. 'Simple', he says, is the antonym of both 'complex' and 'complicated' and this makes 'simple' ambiguous. He resolves the ambiguity by positing two types of 'simple'. 'Quantity-simple' would be the opposite of 'complex' and 'quality-simple' the opposite of 'complicated'.
Using top-notch examples of designer artefacts - for instance, the Ole Mathiesen watches OM1, 2, 3 and 4 -to demonstrate his definition, he suggests that 'simple' means 'consisting of relatively few connected parts' and 'being easy to understand'.
Moving on from Donald Norman's ideas in his book 'Living with Complexity'(which he says go against simplicity in design), Mollerup notes that primitive societies had more physical than mental complexities to deal with that led to simple tools. But today we have more mental complexities to deal with in a world where design combined with technology makes many artefacts and processes simpler and easier to deal with. Yet, there is still that call for newer and simpler designs even as simplicity is a touted as a value top businesses, designers and lifestyle gurus.
Again, Mollerup distinguishes between 'general simplicity' - instant intuitive simplicity in dealing with artefacts - and 'special simplicity' - simplicity dependent on learning. The motives for simplicity come from three spaces, he adds.
Functionality. Aesthetics. Ethics.
The rest of the book is divided into these three segments and Mollerup comes up with fabulous examples of architectural and design artefacts to illustrate the key points he makes under each heading.
Functionality has to do with physical objects as well as communication- it means easy to use and grasp. Aesthetics has to do with simple appearance and minimalism (quantity-simplicity). Ethics is about seeking simplicity for moral reasons (quality-simplicity). The Shakers are an example of both quantity and quality- simplicity.
Simplicity can be 'forced' as in primitive conditions or can do with utilitarianism in times of scarcity of materials, for instance. It can often be subjective and yet within parameters like number of elements, variety of elements, structure, and so on. Like Maeda, he also links simplicity to reduction or to the use of Occam's Razor in the process of designing and creating an artefact; that is, 'eliminate superfluous elements'.
He cites minimalist architects who did away with 'ornamentation' and 'decoration' and yet resorted to 'modernist' accoutrements which might yet be seen as 'decorative' yet minimal. Such shifts in processes often did away with certain processes or elements that existed before too, he notes.
Simplicity, while being about 'no frills', also has to do with systems, levels and sub-systems and can be injected into the whole or parts while also being linked to logistical and business aspects. Example: Ikea where simple designed parts make a synergistic whole operating across quantity and quality-simplicity.
Simplicity also has to distinguish and balance between effectiveness and efficiency and least effort thanks to new materials, processes and technologies. There are trade-offs happening all the while. He reminds us that simplicity is paradoxical in nature, sometimes, and has to bow too to the embedding of 'requisite complexity'. Simplicity also depends on choices between broad or deep information structures, user-centredness and possibilities of collapsibility for compactness.
So much for the connect between functionality and simplicity.
Simplicity in aesthetics relates primarily to pleasure. In this context, Mollerup speaks of the development and influence of minimalism in architecture and design, times of scarce resources, farewell to ornamentation, use of undercover techniques or unconcealed structures and so on. In the end, aesthetics and functionality come together in the 'power of oneness', reflected in principles like repetition, tatami or wabi-sabi affecting the design of artefacts.
Finally, there is simplicity for conscience's sake reflected as ethics. This has to do with how design that is simple is driven by ideologies, political or religious convictions and so on. The artefacts of the Shakers and Tadao Ando's 'Church of the Light' (1989) are examples. Ethics makes one look at notions of downsizing, the simple life, minimal uses of resources and destruction of ecosystems, etc.
In a final section, he devotes space to simplicity in Visual Communication. He is concerned with how simplicity affects what is created in terms of information graphics, pictograms, branding and web design, colour coding, code and context, typography, brevity, and other such parameters for becoming simple in graphic design. Again, there are some strong examples to prove his point. At the end of it, simplicity is design is also about avoiding 'clutter'.
Mollerup ends with the cautionary note that 'simplicity' has its limitations. He cites Albert Einstein: "Everything should be made as simple as possible, but not simpler." This book is a must for every one who is serious about design and, as the back cover puts it, "To present complexity in simple ways is the designer's noblest profession."
To me, Per Mollerup's exquisite book "Simplicity:A Matter of Design" takes us even further, both in the simplicity of the books structure and design, than John Maeda's book "The Laws of Simplicity" which was the result of a blog he wrote between 2006 and 2013 thanks to his preoccupation with the notion of 'simplicity' as a key aspect of design, technology, business and life itself. Maeda, of the MIT Media Lab, came up with 10 laws and 3 keys of simplicity. If you give Maeda's book a read, you will come upon a number of meaningful insights and examples. But, you must then compulsorily turn to Mollerup's book. It goes further on up the road.
For instance, the book begins with Mollerup coming up with an exquisite analysis of the notion of the 'simple' and then a working definition. 'Simple', he says, is the antonym of both 'complex' and 'complicated' and this makes 'simple' ambiguous. He resolves the ambiguity by positing two types of 'simple'. 'Quantity-simple' would be the opposite of 'complex' and 'quality-simple' the opposite of 'complicated'.
Using top-notch examples of designer artefacts - for instance, the Ole Mathiesen watches OM1, 2, 3 and 4 -to demonstrate his definition, he suggests that 'simple' means 'consisting of relatively few connected parts' and 'being easy to understand'.
Moving on from Donald Norman's ideas in his book 'Living with Complexity'(which he says go against simplicity in design), Mollerup notes that primitive societies had more physical than mental complexities to deal with that led to simple tools. But today we have more mental complexities to deal with in a world where design combined with technology makes many artefacts and processes simpler and easier to deal with. Yet, there is still that call for newer and simpler designs even as simplicity is a touted as a value top businesses, designers and lifestyle gurus.
Again, Mollerup distinguishes between 'general simplicity' - instant intuitive simplicity in dealing with artefacts - and 'special simplicity' - simplicity dependent on learning. The motives for simplicity come from three spaces, he adds.
Functionality. Aesthetics. Ethics.
The rest of the book is divided into these three segments and Mollerup comes up with fabulous examples of architectural and design artefacts to illustrate the key points he makes under each heading.
Functionality has to do with physical objects as well as communication- it means easy to use and grasp. Aesthetics has to do with simple appearance and minimalism (quantity-simplicity). Ethics is about seeking simplicity for moral reasons (quality-simplicity). The Shakers are an example of both quantity and quality- simplicity.
Simplicity can be 'forced' as in primitive conditions or can do with utilitarianism in times of scarcity of materials, for instance. It can often be subjective and yet within parameters like number of elements, variety of elements, structure, and so on. Like Maeda, he also links simplicity to reduction or to the use of Occam's Razor in the process of designing and creating an artefact; that is, 'eliminate superfluous elements'.
He cites minimalist architects who did away with 'ornamentation' and 'decoration' and yet resorted to 'modernist' accoutrements which might yet be seen as 'decorative' yet minimal. Such shifts in processes often did away with certain processes or elements that existed before too, he notes.
Simplicity, while being about 'no frills', also has to do with systems, levels and sub-systems and can be injected into the whole or parts while also being linked to logistical and business aspects. Example: Ikea where simple designed parts make a synergistic whole operating across quantity and quality-simplicity.
Simplicity also has to distinguish and balance between effectiveness and efficiency and least effort thanks to new materials, processes and technologies. There are trade-offs happening all the while. He reminds us that simplicity is paradoxical in nature, sometimes, and has to bow too to the embedding of 'requisite complexity'. Simplicity also depends on choices between broad or deep information structures, user-centredness and possibilities of collapsibility for compactness.
So much for the connect between functionality and simplicity.
Simplicity in aesthetics relates primarily to pleasure. In this context, Mollerup speaks of the development and influence of minimalism in architecture and design, times of scarce resources, farewell to ornamentation, use of undercover techniques or unconcealed structures and so on. In the end, aesthetics and functionality come together in the 'power of oneness', reflected in principles like repetition, tatami or wabi-sabi affecting the design of artefacts.
Finally, there is simplicity for conscience's sake reflected as ethics. This has to do with how design that is simple is driven by ideologies, political or religious convictions and so on. The artefacts of the Shakers and Tadao Ando's 'Church of the Light' (1989) are examples. Ethics makes one look at notions of downsizing, the simple life, minimal uses of resources and destruction of ecosystems, etc.
In a final section, he devotes space to simplicity in Visual Communication. He is concerned with how simplicity affects what is created in terms of information graphics, pictograms, branding and web design, colour coding, code and context, typography, brevity, and other such parameters for becoming simple in graphic design. Again, there are some strong examples to prove his point. At the end of it, simplicity is design is also about avoiding 'clutter'.
Mollerup ends with the cautionary note that 'simplicity' has its limitations. He cites Albert Einstein: "Everything should be made as simple as possible, but not simpler." This book is a must for every one who is serious about design and, as the back cover puts it, "To present complexity in simple ways is the designer's noblest profession."
Displaying 1 of 1 review