Design has no inherent morality. In this it is exactly like most other human pursuits such as art, business and politics.
A prime example is Adolf Hitler, generally considered one of the great monsters of human history. Although he was not trained as a designer, Hitler was deeply involved in design matters during his political career. His ability as a designing mind should not be underestimated. It is always a big mistake to think of villains and enemies as caricatures or buffoons. This sets us up to be victimized by the next ingenious and talented villain.
In other words, beware of designers and artists who dabble in politics.
I am indebted to Frederic Spott's Hitler and The Power of Aesthetics (Overlook Press 2003) for the material covered in this ramble.
Hitler was particularly interested in the design aspects of graphics (especially logos and symbols,) architecture, theater, and automobiles.
Graphics - Hitler chose the right-facing position of the swastika and selected the color combination of a black swastika in a white circle against a red background. He sketched out (with precise measurements) the Nazi Party standard, a flag-like square with separate party initials, swastika and eagle at the top of a pole. Hitler designed the Nazi party badge, stationery, official rubber stamp and the masthead of its newspaper. He designed the eagle motif used in all the preceding paraphernalia.There is no question his concepts were refined and executed by professionals. But it would be inaccurate to deny him an important role in the original conception.
Theater - I treat Hitler's theatrical designs as covering everything from his meticulous rehearsal of poses for his political speeches to specification of the lighting effects, banners, music, crowd and spatial arrangements at rallies all the way to his invention of a variety of special ceremonies. Objective witnesses to his performances testify that the result had hypnotic, quasi-religious fascination.
Architecture - Hitler loved doing architectural drawings, had grandiose plans for major buildings, arenas and public places in cities such as Berlin. In the final days of the war he spent hours in his bunker studying an architectural model of his home town of Linz, for which he had especially elaborate plans.
Automobile - Hitler sketched out the concept of the Volkswagen in 1932, set a low market price for it, arranged for Ferdinand Porsche to make it and presided at the ceremony of the car's debut.
The lesson to be drawn from all this? We must be constantly vigilant with respect to the larger moral, philosophical and political implications of the work presented to us by designers, particularly when it is sponsored by powerful governmental or business entities. For that matter, we must exercise the same caution with respect to all types of artists and their political activity. As for ordinary politicians, we already know not to trust them.
A prime example is Adolf Hitler, generally considered one of the great monsters of human history. Although he was not trained as a designer, Hitler was deeply involved in design matters during his political career. His ability as a designing mind should not be underestimated. It is always a big mistake to think of villains and enemies as caricatures or buffoons. This sets us up to be victimized by the next ingenious and talented villain.
In other words, beware of designers and artists who dabble in politics.
I am indebted to Frederic Spott's Hitler and The Power of Aesthetics (Overlook Press 2003) for the material covered in this ramble.
Hitler was particularly interested in the design aspects of graphics (especially logos and symbols,) architecture, theater, and automobiles.
Graphics - Hitler chose the right-facing position of the swastika and selected the color combination of a black swastika in a white circle against a red background. He sketched out (with precise measurements) the Nazi Party standard, a flag-like square with separate party initials, swastika and eagle at the top of a pole. Hitler designed the Nazi party badge, stationery, official rubber stamp and the masthead of its newspaper. He designed the eagle motif used in all the preceding paraphernalia.There is no question his concepts were refined and executed by professionals. But it would be inaccurate to deny him an important role in the original conception.
Theater - I treat Hitler's theatrical designs as covering everything from his meticulous rehearsal of poses for his political speeches to specification of the lighting effects, banners, music, crowd and spatial arrangements at rallies all the way to his invention of a variety of special ceremonies. Objective witnesses to his performances testify that the result had hypnotic, quasi-religious fascination.
Architecture - Hitler loved doing architectural drawings, had grandiose plans for major buildings, arenas and public places in cities such as Berlin. In the final days of the war he spent hours in his bunker studying an architectural model of his home town of Linz, for which he had especially elaborate plans.
Automobile - Hitler sketched out the concept of the Volkswagen in 1932, set a low market price for it, arranged for Ferdinand Porsche to make it and presided at the ceremony of the car's debut.
The lesson to be drawn from all this? We must be constantly vigilant with respect to the larger moral, philosophical and political implications of the work presented to us by designers, particularly when it is sponsored by powerful governmental or business entities. For that matter, we must exercise the same caution with respect to all types of artists and their political activity. As for ordinary politicians, we already know not to trust them.
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