Henry Dreyfuss was one of the leaders and pioneers of American industrial designers. Dreyfuss made a huge contribution to development of industrial design. He along with other great industrial designers established a design consultancy as a reputable and business-like profession.
In 1929, Dreyfuss won a "phone of the future" competition by Bell Laboratories and began work in 1930 in collaboration with Bell staff. The result of this association was the "300" tabletop telephone, with a receiver and transmitter in a "combined handset" resting in a horizontal cradle. Molded in black phenolic plastic, it was introduced in 1937 and produced until 1950.
"He insisted he work in conjunction with Bell's engineers to design `from the inside out'. Fearing Dreyfuss would be compromised by the realities of engineering, Bell refused to allow him to work this way. Upon receiving work from others that proved to be impossible to build, they decided to retain Dreyfuss to work his own way and what resulted is basically the same phone we all use today. Bell introduced the handset in 1927, but it was Dreyfuss' combined handset that became the standard from 1937 on. His phone design was in production until 1950, but practically every phone since then has been modeled after it. The design used 1940s plastic, allowing for easy molding. Its elements were reduced to a minimum so it was easy to use, fix, and clean. It was necessary that the phone be simple in styling and not too trendy. The telephone market in those days was not highly competitive, so if someone were to invest in a phone, it was likely to be around for a long time. Dreyfuss iterated countless times on the design of this phone. Working with Bell engineers, they methodically studied and tested the phone with scores of people. Dreyfuss' many measurements and studies of humans and machines led to his book, The Measure of Man. His work made enormous contributions to the introduction of the applied science of ergonomics". (1)
Starting form the 1930 some new specification can be seen such as "streamline design" resulting from technical studies, and the "stream form design" based on purely aesthetic aspect. Two different camps of industrial designers emerge: Dreyfuss, Bel Geddes, and Buckminster Fuller as functionalists, and Loewy, Earl- stream aesthetics.
As Loewy had all the skills in making products desirable, Dreyfuss was skilled in making products usable. Both they created great physical consumer products.
The rivalry between Loewy and Dreyfuss existed though Henry Dreyfuss said that "Loewy is the best advert the profession has".
Opposite of Raymond Loewy Dreyfuss was not interested in styling; he tried to apply common senses and scientific approach in his design process and made a stress on utility of the product. He made significant contributions to the fields of ergonomics, anthropometrics, and human factors. His approach to industrial design is described in his book Designing for People (1955, 2nd ed. 1967). Dreyfuss has been referred to as "the conscience of the industrial design profession" because of his humanist attitude to design.
Henry Dreyfuss said that" when the point of contact between the product and people becomes a point of friction, then the industrial designer has failed.”
(1) Brad Weed (author)
"Visual Interaction Design: The Industrial Design of the Software Industry", http://sigchi.org/bulletin/1996.3/vid.html
In 1929, Dreyfuss won a "phone of the future" competition by Bell Laboratories and began work in 1930 in collaboration with Bell staff. The result of this association was the "300" tabletop telephone, with a receiver and transmitter in a "combined handset" resting in a horizontal cradle. Molded in black phenolic plastic, it was introduced in 1937 and produced until 1950.
"He insisted he work in conjunction with Bell's engineers to design `from the inside out'. Fearing Dreyfuss would be compromised by the realities of engineering, Bell refused to allow him to work this way. Upon receiving work from others that proved to be impossible to build, they decided to retain Dreyfuss to work his own way and what resulted is basically the same phone we all use today. Bell introduced the handset in 1927, but it was Dreyfuss' combined handset that became the standard from 1937 on. His phone design was in production until 1950, but practically every phone since then has been modeled after it. The design used 1940s plastic, allowing for easy molding. Its elements were reduced to a minimum so it was easy to use, fix, and clean. It was necessary that the phone be simple in styling and not too trendy. The telephone market in those days was not highly competitive, so if someone were to invest in a phone, it was likely to be around for a long time. Dreyfuss iterated countless times on the design of this phone. Working with Bell engineers, they methodically studied and tested the phone with scores of people. Dreyfuss' many measurements and studies of humans and machines led to his book, The Measure of Man. His work made enormous contributions to the introduction of the applied science of ergonomics". (1)
Starting form the 1930 some new specification can be seen such as "streamline design" resulting from technical studies, and the "stream form design" based on purely aesthetic aspect. Two different camps of industrial designers emerge: Dreyfuss, Bel Geddes, and Buckminster Fuller as functionalists, and Loewy, Earl- stream aesthetics.
As Loewy had all the skills in making products desirable, Dreyfuss was skilled in making products usable. Both they created great physical consumer products.
The rivalry between Loewy and Dreyfuss existed though Henry Dreyfuss said that "Loewy is the best advert the profession has".
Opposite of Raymond Loewy Dreyfuss was not interested in styling; he tried to apply common senses and scientific approach in his design process and made a stress on utility of the product. He made significant contributions to the fields of ergonomics, anthropometrics, and human factors. His approach to industrial design is described in his book Designing for People (1955, 2nd ed. 1967). Dreyfuss has been referred to as "the conscience of the industrial design profession" because of his humanist attitude to design.
Henry Dreyfuss said that" when the point of contact between the product and people becomes a point of friction, then the industrial designer has failed.”
(1) Brad Weed (author)
"Visual Interaction Design: The Industrial Design of the Software Industry", http://sigchi.org/bulletin/1996.3/vid.html
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