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A SURVEY OF OPINIONS REGARDING RESEARCH IN BASIC

DESIGN AS RELATED TO INTERIOR DESIGN

by
Mildred Moore Chapel

A PROBLEM

Submitted to
Michigan State University
in partial fulfillment of the requirements
for the degree of

MASTER OF ARTS

College of Home Economics

1964

ACKNOWLEDGMENTS

I wish to express my appreciation to those who have
assisted with this study. I

To Miss Mary Shipley I wish to express my most sin-
cere appreciation for her inspiration and able assistance.
Without her guidance this study would not have been possible.

Special thanks are extended to Dr. Mary Gephart,
Head of the Textiles, Clothing and Related Arts Department.

Appreciation is also expressed to the members who
served on the committee, Mr. Robert Bullard, Miss Bernetta
Kahabka, Dr. Gertrude Nygren, and Dr. Paul Love. Special
thanks are extended to Miss Jean Schubel for reading the
manuscript.

I am most grateful to those who participated in the

interviews, and to those who assisted with the study.

LIST OF TABLES. . . .
CHAPTER
I. INTRODUCTION.

II. REVIEW OF THE

TABLE OF CONTENTS

LITERATURE. . .

Design Concept. . . . . . .

The Role of

The Need for Design Research in

the Designer. .

The Need for Textile Research

Research in

III. METHODOLOGY .

Progress. . . .

Selection of Sample . . . .

Selection 0
Development

IV. DISCUSSION OF

Exploratory
Exploratory
Exploratory
Exploratory
Exploratory
Interviews.
Interview I
Interview I
Interview I

Interview IV.

Interview V
Interview V

f Method . . .
of Instrument .

FINDINGS. . . .

Instrument Numbe
Instrument Numbe
Instrument NUmbe

Instrument Numbe

Instrument Numbe
I. O O 0 0 O O 0
II C 0 O O O O 0
I. O 0 O O O O 0

V. SUMMARY AND RECOMMENDATIONS .

Recommendat
APPENDIX A. . . . . .

APPENDIX B. . . o . .

ions for Further

iii

r
r
r
r
r

I .
II.
III

<H
.4

Culture

Page

APPENDIX C. o o o o o o o o o o o o o o o o o o o o o 89
APPENDIX D. o o o o o o o o o o o o o o o O o o o o o 93
APPENDIX E. o o o o o o I o o o o o o o o o o o o o o 111

BIBIJIOGRAPHY. O O O O C O O C O O O O O O O O O O O O 1 16

iv

SUMMARY
SUMMARY
SUMMARY
SUMMARY
SUMMARY

RESULTS

OF

OF

OF

OF

DE

OF

LIST OF TABLES

REPLIES
REPLIES
REPLIES
REPLIES

REPLIES

TO INSTRUMENT I . .
TO INSTRUMENT III .
TO INSTRUMENT IV. .
TO INSTRUMENT V . .

TO ALL INSTRUMENTS.

INTERVIEWS O O O O O O O O O

Page

39
43
52
55
57
67

CHAPTER I

INTRODUCTION

Because the problems of design in our society are
complicated, this study attempts to deal only with the areas
which relate to interior design. Manufacturers concerned
with designing materiel for interior design are faced with
many of the complications which relate to their product.

One of the problems not yet recognized by many in-
dustries is the effect of intuitive methods utilized in
making decisions on the basic design components as they
are related to the various materiel. The intuitive approach
needs to be critically and objectively re-examined in terms
of its appropriateness in our culture today which is char-
acterized by increased competition, both at home and abroad.

A second problem is related to the length of time
which lapses from the development of a design until the
product reaches the market. This time lag adds to the cost
of the finished product and results in a non-competitive
price.

Deviations in the transferral of the design from
its conception to the end product poses still another prob-
lem. Changes can occur which alter the preconceived appear-

ance of the article. For example, a designer creates a

two-dimensional representation of a rug pattern in color.
Due to the fact that modes of appearance (texture) change
color attributes (hue, lightness, brightness) the precon-
ceived appearance of the article may be altered in produc-
tion. If this change is unacceptable to management and
designers,there results an unnecessary expense in produc-
tion time and materials for the manufacturer, as well as
loss of time and creative effort for the designer. Research
can make a valuable contribution in solving problems such

as this.

All industries have been extensively affected by
social and economic change in the world in the past two
decades. Although many industries have responded quickly
to these changes, most manufacturers of products for use
in interior design have remained, to all appearances, al-
most unaware of the implications in their field. The ef-
fect of world changes on supply and demand and on the po-
tential for new and creative approaches to design have gone
largely unrecognized. Olga Gueft voices her concern for
the inability of the industry to cope with these changes.

Our traditional American attitudes and habits are
changing. Fifteen years ago a demoralized Europe
was not able to buy the luxuries of life, nor able

to compete with the industrial efficiencies of the
United States. We did not anticipate this change.1

lOlga Gueft, "Change," Interiors, CXXII, No. 8 (March,
1963), p. 85.

The effect of competition, brought about by social
and economic change, can be a healthy and invigorating in—
fluence on the industry or deadly and debilitating. Added
to the increased internal competition within the United
States, the advent of the Common Market further intensifies
the challenge to the manufacturers of products for interior
design. Could basic design research contribute to solving
some of the current problems in the industry which have
developed from swift and continuing social and economic
changes throughout the world?

Because of problems briefly mentioned here and others
related to them, many manufacturers who supply articles for
interior design are facing serious economic problems. As
competition increases and sharpens, companies must find
ways of minimizing losses in all stages of planning, pro-
duction, and marketing. The potential contribution of basic
design research to the present dilemma of the industry is
at once obvious and elusive: the industry continues to pay
"lip service" to the essential importance of basic design
and, at the same time, exerts its efforts to solve its prob-
lems primarily toward research in production, marketing
methods, and the technological development of new fibers,
fabrics, and other materials used in interior design.

Relatively little research has been reported in
any phase of basic design by the industries supplying ar-

ticles and materials for interior design. Even in the area

of color, always an essential focus for the interior design—
er, the leaders in research have been industries concerned
with colored television, packaging, color film, cosmetics,
food processing, pigments for paints, and other fields.
Evidence of research in shape and texture in the furnish-
ings is even more scarce than in the area of color. The
effect of one basic design component on other components
remains virtually unexplored through research.

The changing conception of the meaning of design
in recent years has led to some confusion. As a result,
recognizing the need for research in basic design components
and identifying truly basic researchable problems may have
faltered. From the earlier interpretation of design as the
patterns applied to surfaces of an object, the term today
encompasses a much broader concept. For this study the
investigator has chosen to use Ball's concept of design.1

Design is defined in the art forms as having visual
components of shape, color and texture. Each component
has several attributes. Line, volume, and mass are attri-
butes of shape. Hue, lightness-darkness and brightness-
dullness are attributes of color. Light reflection, mate-
rial structure, reaction to handling, reaction to the tac-
tile sense and reaction of the kinesthetic sense are attri—

butes of texture embodied in this study.

 

1Victoria K. Ball, The Art of Interior Design (New
York: The Macmillan Co.), p. 12.

An understanding of the visual components of design,
their attributes, and the relationship of one component to
another are the areas to be researched in basic design.
Meaningful research for the industries concerned with in-
terior design must focus upon the components of design and
their relationships to each other.

The purpose of this study is three-fold: (l) to
discover what basic research in design is currently being
conducted by or for the industries which produce materiel
for the interior design field, and (2) to determine from a
selected group of designers and manufacturers what research
might be conducted which would be useful to the industry,
and (3) to try to determine the kinds of research programs
which universities might develop to meet the needs of in-

dustries concerned with interior design materials.

CHAPTER II
REVIEW OF THE LITERATURE

Many companies engaged in manufacturing articles
and materials used in interior design may be conducting a
variety of tests and studies related to their own products.
However, very few report any of their investigations to
other members of the industry or to educators who prepare
students for professional roles as designers who will work
in many facets of the industry. In the highly competitive
business world, this careful guarding of trade secrets and
special processes is understandable.

However, if the industry, as a group with common
major goals, could see fit to engage in cooperative efforts
to encourage and support research in basic design compo-
nents, many benefits could accrue for all members. Shar—
ing the findings of basic research in scientific fields
has advanced these areas in an unprecedented manner in the
past quarter of a century. Similar rewards may well await
coordinated efforts in the fields of art and design.

The scarcity of published research on the compo-
nents of basic design and their relationship to each other
suggests the existence of a fertile field for research.

At this time the research potential here seems to be

virtually untapped. Perhaps an important contributing cause
for slowness in this area has been the confusion and lack

of agreement among those in the field about concepts of de-

Sign.

Design goncegt
Marianne Strengell, a textile designer, interprets

the meaning of design in this way:

Good design is a way of life. Whether a textile

is woven of straw in a native village or of the
latest man-made fibers on a high-powered loom, the
approach is identical. First and always research.
It is necessary to build a framework of facts with-
in which to design. Some of the facts to explore:
the human element, available labor and raw material,
color, climate, and use, price range, and merchan-
dising methods. Only after this framework is fully
explored and understood can one freely experiment
and create a valid statement of good design.1

Scott considers design today as a "fundamental human
discipline, one of the basic techniques of our civilization,"2
a relatively new concept of what design means. Today design
implies much more than the pattern applied to an article.
Scott further expands his concept thus:

The time is not so long past when design meant a
two dimensional pattern . . . to almost everyone. . .
What we mean by design today still includes such
patterns. The magic in the word for contemporary

ears certainly lies elsewhere . . . essentially
we have changed our focus of attention from various

 

lAlice Adams, "Marianne Strengell," Cr ft Ho izons,
XXXII, No. l (January-February, 1963), p. 36.

2Robert Gillam Scott, Design Fugdamentals (New York:
McGraw-Hill Co., 1951), p. 2.

Specific kinds of design to the activity itself.l

Architect-designer George Nelson says that there
are many ways to consider the meaning of design. In his
book, ggpblems in De§ign, Nelson emphasizes that design
is a medium of social communication, despite the lack of
words and regardless of the intent of the creator.2

An orderly, systematic approach to meaningful re-
search in basic design will require clarification and def-
inition of terminology in the design field before much can
be accomplished. Without reasonable agreement on the mean-
ing of widely used terms, it is doubtful that much signif-
icant research can be conducted or that any research which
is done can be effectively communicated. The responsibil-
ity for making a decision regarding this basic language
difficulty could be met by the cooperative efforts of indus—

try representatives and educators.

The Role of the Desiggg£_

In all probability the general lack of recognition
of the importance of the role of the designer in our soci-
ety today has also contributed to the limited research ac-
tivity in the design field. The present emphasis on sci-

ence and the scientist has tended to draw attention away

 

lIbid. ’ p. 7.

2George Nelson Problemg in Desigg (New York: Whit-
ney Publications, 1957), p. 3.

from the esthetic needs and accomplishments of the members
of society all over the world. However, expressions of
concern are becoming more and more evident that we be mind-
ful of our need for both the scientific and the esthetic
contributions to our way of life. Alice Adams expresses
a belief in the interdependence of the scientist and the
designer in her comment: "If the two are going anywhere,
it will have to be together."1
The need for both the designer and the scientist

has been recognized by some designers. Jules Langsner voices
his concern in this way:

While the vital role of the scientist in the affairs

of civilization has become increasingly apparent

even to persons who do not understand what he does,

the significance of the artist's contribution to

the scheme of things in the modern world has become

less evident. Things are changing so fast in our

time that it seldom occurs to us to assess the phe-

nomenon of change itself. Neither change nor tra—

dition is good in itself.2
As changes occur in our society it becomes even more impor-
tant that we become aware of the role that individuals can
play. With increased specialization we become more depend-
ent on the knowledge of many individuals and we must learn

how to coordinate their efforts. Langsner expresses this

need when he states that:

 

1Alice Adams, "Fabrics International," Craft Hori-
zons, Vol. XXI, No. 5 (September-October, 1961), p. 6.

2Jules Langsner, "The Artist and the Scientist,"

Part II, Craft Hori ons, Vol. XXII, No. 6 (November-Decem-
ber, 1962), p. 18.

10

The artist brings a different set of purposes to
his work than the scientist. The concepts and
discoveries of the scientist transcend him as an
individual person, and require crystallization in
a form that may be tested independently by others.
The artist on the other hand directs his efforts
to a certain life enhancement.l

Langsner further suggests that the artist or designer
has been alienated from the mainstreams of modern life in
his statement that, "our society has fissioned two cultures,
the scientific culture at the intellectual control, and the
traditional culture of the arts, out of touch with the cru-
cially important realms of the sciences."2

Although the designer has not always clearly under—
stood himself or his role in relation to other professional
organizations, C. N. Parkinson suggests that he is now be—
ginning to realize that big corporations need him for effec—
tive communication with the business world and the general
public. Parkinson also urges designers to establish a truly
professional discipline as follows:

It must use designers . . . to convey its corpor-
ate image to the public. Corporations are coming
to need and are seeking creative individuality.

The big corporation brings a number of real prob-
lems. The main one being the "stupefying forces

of mediocrity" to which the work of the designer

is extremely important. Lack of agreement on broad
essentials is apparent. If the same question were
addressed to different members, the answer should

be essentially the same. If each lawyer gave a
different answer, my opinion is as good as his.

 

1Jules Langsner, "The Artist and the Scientist,"

Part II, C aft Horizons, XXIII, No. l (January-February,
1963), p. 52.

21bid., p. 18.

ll

Designers should establish a professional disci-

pline. Genius is rare. Life is too short to

develop a new style for every building.1

A contributing factor of the lack of recognition

of the role of the designer may be the problem of communi-
cation with others who are engaged in designing and/or pro-
ducing materiel for the home. The designer, the engineer
and the sales personnel must be able to understand each other
and work together for a common goal. A concern for lack
of communication has been voiced by both manufacturers and
designers. Larsen has suggested that his concern is because
of the fact that the designer is removed from production
and the producer and consumer are strangers.2 The same
problem is viewed in a similar way by Robert Riley when
he says:

The truth is that the designer, the manufacturer

and the store buyer never meet with their "mass

market" and no expensive opinion surveys are going

to help them understand it. There is no IBM machine

to replace a merchant's imagination.3

The problem of communication may relate to the chang-

ing concept of the meaning of design. It is possible that

research can make a contribution to the solution of these

two problems. Perhaps it is in this area that a university

 

1C. Northkote Parkinson, "The Corporation and the
Designer," Arts and Arghitegture, 77, No. 10 (October, 1961),
p. 39.

2Jack Lenor Larsen, "Needed More Imagination in Tex-
tile Design," Modern T tiles, XXXXIII, No. 1 (January, 1962),
p. 44.

3Robert Riley, "Myriad World of Fabrics,” Craft Hori-
zons, XXI, No. 5 (September-October, 1961), p. 7.

12

might make a valuable contribution.

The Negd for Design Rgseagch in Our Culture
If a design is successful it fulfills a human need,

either personal and/or social. Human needs, both personal
and social, are constantly changing. Design that satisfied
these needs in the past may not be able to meet the needs
of contemporary living. For example, one of the problems
of contemporary living that has not been solved in relation
to interior design is in the design of furnishings for the
aging. Keifetz indicates his awareness of this problem:

With 21 million people already at retirement age

(62) it is surprising that most furniture design-

ers and manufacturers are unable to define the

desirable design features of furniture for the

aged.1

Any research conducted in designing furniture for

the aging could result in better designed furniture for ev-
eryone. At this time only one manufacturer has accepted
the challenge of this design problem by subsidizing a study
done by a group of psychologists, anthropologists, and so—
ciologists for the National Council on Aging.2 The ques-
tion could be raised here, why was there no designer con-
tributing to this group effort? Considering only the eco-

nomic factor, the furniture industry can scarcely afford

to ignore this market.

 

1Norman Keifetz, "RX: Prescription for Old-Age
Furniture," Contrac , IV, No. 2 (February, 1963), p. 31.

21bid., p. 33.

13

The creation of a comfortable chair for various
activities has been a problem to consider with many design-
ers working on this problem. Archie Kaplan points to the
need for more research on good seating in relation to the
table or work space, the activity and the individual:

We are constantly sitting; yet the design of good

seating often escapes us. Studies in various fields

have uncovered principles which if they were prop-

erly applied would enable people to sit more com—

fortably.1
The results of research in good seating must be made avail—
able to the manufacturer if society is to benefit from the
studies. The manufacturer must also be willing to use the
results of research or conduct his own investigation concern-
ing the needs of the people he hopes to serve. Jay Doblin
points to the fact that furniture manufacturers have not
conducted adequate research in the design of their products
when he makes this statement:

I have known dozens of furniture designers and have

yet to meet one who conscientiously tests his prod-

ucts either for efficiency or for human use. Nor

have I met one using any scientific technique what-

ever.

h Need f r T le Research
The textile industry is one of the largest industries

in the United States carrying on a huge program of research

 

lArchie Kaplan, "Good Seating," Indgstrial Design,
9, No. 11 (November, 1962), p. 52.

2Jay Doblin, "New Directions," Desi n, 6, No. 7
(July, 1962), p. 119.

14

in development of fibers, both natural and synthetic. If
they have conducted research on the design aspect of tax-
tiles, little has been published. Research is needed on
textile design for draperies, floor coverings and upholstery
fabrics. R. T. Stevens, a textile manufacturer, is aware

of these needs and expresses his concern in this statement:

The research performance of this country's textile
industry has not been outstanding. Creative sci-
entific research has not been adequately tried by
textile manufacturers. The total commitment to
research by the textile industry is small, whether
measured by research expenditures or by percentage
of sales. The only yardage that holds up well is
a percentage of profits, but this is more of an
indictment of our level of profits. Increased re-
search and development can play an important part
in overcoming foreign competition.

The feeling of a need for basic design research which the
textile manufacturer expresses is shared by many segments
of our society today. E. M. Benson, Dean of the Philadel-
phia Museum College of Arts, also is concerned over the
lack of interest in the design factor of today's fabrics.
Benson makes this statement of the problem:

Most fabrics are a commodity as dull as dishwater.
They cover people and things, keeping them warm

or cool according to the heart's desire. Millions
of yards are spewed from looms and presses the
world over. Once in a long while someone with

love for his craft creates fabrics that sing, and
we arg all breathless with astonishment and admira—
tion.

1R. T. Stevens, "Manufacturers Lag in Scientific
Research," New York Timgg (March 20, 1962), p. 49.

2E. M. Benson, "Fabrics International,” Craft Hog;-
zong, XXXI, No. S (September-October, 1961), p. 5.

15

Others are also concerned over lack of design research in
the textile industry. A well-known designer, Jack Lenor
Larsen, states that the fabrics industry is stagnant and
often profitless, producing for the most part, characterless
volumes of yardage of cloth. The consumer may also be aware
of dearth of well designed textiles when she shops for fab-
rics for her home. Larsen summarizes the fabric story in
this way:

Fabrics are still one of the world's largest indus-
tries, but without fanfare, the power or profit

of many large industries. There is more fiber be-
ing consumed today than ever before, and enormous
geometric increase can be expected as a growing
population seeks the high living standard and high
fabric consumption of this country. Fabric wins

a smaller fraction of the American dollar as manu-
facturing expenses in labor, service, and advertis-
ing grow, and as the consumer spends a larger per-
centage in the service and glamour areas, less for
food and clothing. . . .-Each year there are fewer
producers in the textile field, fewer, but larger
ones. Small and medium sized operations, unable

to compete on price, or to subsidize a losing plant
with a winning one, must excel in design quality.1

There may be many reasons for the problems concern-
ing the textile industry. Some could be overcome through
design research. Other solutions may also be needed. Larsen
suggests that fabric technology is ancient and universal and
he believes this to be a contributing factor to the textile

problem.2

 

lJack Lenor Larsen, "Needed, More Imagination in
Textile Design," Modern Textiles, XXXXIII, No. 1 (January,
1962), p. 44.

21bid., p. 44.

16

Robert Riley considers the evolution of a fabric
as important as its production. Basic design research can
contribute to the evolution of well designed fabrics that
are a necessity for our way of life and at the same time
be more satisfying to the consumer. Riley states that,"we
do not produce anything as beautiful as the fabrics of an-

cient culture."l

Is it no longer possible to produce fab-
rics of this quality? Has modern technology provided us
with volumes of yardage, and at the same time taken away
the possibility of producing good design?

Larsen expresses the feeling that we can improve
our fabrics and at the same time produce large volumes of
yardage. He makes this statement, "technology can supply
whatever man is moved to invent. Production can be accom—
plished and the market can be found."2

Manufacturers and designers have expressed their
concern over the problems of the fabric industry. The con-
sumer concerns are not often expressed or heard; neverthe-
less, many seek better design in fabrics. Larsen feels
that the problems of the fabric industry must be solved.

He cites these reasons for his concern:

The world's need for fabrics in the next twenty
years will rise spectacularly, to cover the picture

1Robert Riley, "Myriad World of Fabrics," Craft Hori-
zons, XXI, No. 5 (September-October, 1961), p. 8.

2Jack Lenor Larsen, "The Future of Textiles," graft
Ho i ons, XXI, No. 5 (September-October, 1961), p. 7.

17

windows, clothe the exploding populace, upholster
furniture and cars. The fabric industry is not
prepared to handle this . . . it is a stagnant
giant. Power looms turn out miles of fabric as
bland and characterless as white bread.1

As our way of living changes, the design attribute

of texture becomes increasingly important. The influence
of texture on the other design components needs to be stud-
ied. Little research has been published on textural studies,
or on the influence of texture on other components of design.
Larsen is aware of the need for research in this area. He
expresses his concern when he writes:

Textural interest is lacking. Most fabrics today

have no inherent textural interest, no sense of

fiber, or interlacing structure. . . . Treating

the design as a thin veneer on tOp of the product

is merchandising, not designing. Design can be

sold and promoted, production cannot.2
Larsen cites one example of research being done in the area
of texture: "Annie Albers has been experimenting for several
decades with the development of fibers, yarns and finishes,
and the rediscovery of fabrics has inherent possibilities
texturally."3 Others like Annie Albers are also experiment-
ing in this area; however, the amount of research these de-
signers are able to carry on is extremely small. Apparently

1Jack Lenor Larsen, "Fabrics in a New Dimension,"
Ind s ial Des n, 8, No. 10 (October, 1961), p. 79.

2Jack Lenor Larsen, "Needed, More Imagination in
Textile Design," Mogern Textiles, XXXXIII, No. 1 (January,
1963), p. 44.

3Ipid., p. 44.

18

only a small amount of the results of their research is
made available to, or used by, large textile firms. As

a result of the dearth of research for development of new
designs for new fibers, textile firms use other methods
of selecting new designs in fabrics.

Two designers for a fabric producer gave some in-
sight into their method of developing new styles and color
trends. Three main sources of information were listed which
are evidently their concept of research:

1. Working directly with furniture manufacturers.

2. Using trade publications showing style trends.

3. Talking with their sales staff, always in close
contact with the retail upholstery buyers, mer-
chandise managers and store sales people. The
pot-pouri of ideas and trends gleaned from these
important sources are weighed, sifted and dis-
cussed by the two stylists. Then after care-
ful consideration, thought, and time expendi-
ture, a new line is born.1
Marianne Strengell suggests that there has been a

letdown in a culturally based insistence on good design in
all levels of manufacturing.

"It is the designer's responsibility, not to conform
to, but to form the public taste by maintaining high stand-
ards in his own work."2 Strengell also believes that there
is too much emphasis on novelty for its own sake and that

1Ann MacLean, "Difficulty and Challenge of Styling
Increasing," Women's Wear Daily (October 24, 1962).

2Alice Adams, "Marianne Strengell," Craft Horizogg,
XXXIII, No. l (January-February, 1963 , p. 36.

 

19

the basic frame of reference based on research is often
neglected.

The president of a textile company, R. T. Stevens,
has this to say about the need for research in this field:

Scientific research is no panacea for all the tex-
tile industries' problems. However, increased re-
search and development can play an important part
in overcoming some of the foreign competition. He
pointed out that research efforts of many large
companies were preceded by small and eventually
profitable programs . . . the Textile Research In-
stitute announced the establishment of a new
$125,000 post-doctoral fellowship program for the
expansion of long range basic research in the fi-
ber field.1

The Institute apparently did not specify the areas of re-
search that would be included in this program. It is pos-
sible that this study will follow the traditional pattern
of developing new fibers, and ignore the design factor which
is important to the textile industry.
C. N. Parkinson expresses the belief that there

is a growing awareness that design must be considered in
contemporary living. He also expresses his concern for
the situation created by the neglect of the design factor:

The American scene is a mess. This is coming to

be realized. What do we do now? Technology which

created the chaos is capable of creating order.

There is a whole new world to re-design: cities

and streets, shops and offices, homes and gardens,

tables and chairs, pots and pans, plates and glas-
ses, knives and forks-~we do not lack the opportunity.

 

1R. T. Stevens, "Manufacturers Lag in Scientific
Research," New York Times (March 20, 1962), p. 49.

2C. N. Parkinson, "The Corporations and the Designer,"

Arts and Architecture, 77, No. 10 (October, 1960), p. 18.

 

20

Gropius also studied the problem of design in our
culture to determine the cause. He states that he has con—
tinually run into the same situation which he feels may be
due to:

A naive disregard for what happens beyond the bor-

derline of one's commission, . . . the desire to

outdistance everybody else in dramatic appeal is

still so irresistable that the necessary balance

of the total design is destroyed . . . for the

problem is not how to stem the tides of these new

trends, but to find proper solutions for them.1
Can we continue to ignore the need for considering a broader
outlook in the field of design? Perhaps the designers, the
engineer and the producer need greater vision to understand
this balance of total design which our society needs today.

An editor for a design magazine expresses his con-
cern for the problems facing the designer and the industries
which need his services. Like Marianne Strengell, he feels
a need for a framework of facts for the designer to use.

He feels that designers can make use of information that
has been compiled through the efforts of many. The editor
makes this statement:
During recent conversations with industrial design-
ers the topic of design inheritance has come up.
That is, what does industrial design have as a body
of information to pass on? What is the designer's
legacy: We assume that a body of communicable in-

formation is a central necessity for any profession.
We ought to communicate information of a factual

1Walter Gropius, "On the Occasion of the Celebration
of His 80th Birthday at Harvard," Arts and Architecture, 80,
No. 7 (July, 1963), p. 18.

21
nature. A body of facts, despite accidents in
transmission, can usually be passed on.1
How can such a body of knowledge be compiled? What

are the problems involved? Is it possible to assemble in-
formation on basic design research such as this? Would
designers and manufacturers use the information? Are there
prejudices that must be overcome before this can be accom-
plished? Arnheim suggests that there are two prejudices
that are apparent:

One of these prejudices asserts that visual things

cannot be expressed in words . . . another preju-

dice maintains that verbal analysis will paralyze

intuitive creation and comprehension.
These prejudices may have to be overcome if a body of know-
ledge is to be compiled and accepted. Adequate communica-
tion between the individuals concerned may help to overcome
these prejudices.

Who is best qualified to assemble such information?

Perhaps the designer can make a contribution to this know-
ledge. If the designer is to contribute his knowledge, the
problem of communication must be considered.

The designer has been unsuccessful in truly com-

municating himself to the manufacturer (says Mr.

Joseph McGarry). One possible reason being his
failure to understand himself.3

 

lRobert Malone, "Coefficients of Professionalism,"
Industrial Design, 10, No. 1 (January, 1963), p. 39.
2

Rudolph Arnheim, 飧 and Vigpal Pergeption (Berkeley
& Los Angeles: University of California Press, 1954), p. 6.

3C. Northkote Parkinson, "The Corporation and the

Designer," 飧§ ang Architegturg, 77, No. 10 (October, 1960),
p. 39.

22

If designers have difficulty in communicating with
manufacturers, possibly there is a need for a mediator. It
is conceivable that a university could make a contribution
to this problem of accumulation of data and communication
of knowledge.'

Thus designers and manufacturers have expressed their
concern over the problems of design, and the lack of research

needed to solve some of the problems.

Beseargh ig Progregg

The investigator found that the majority of research
under study tended to be in scientific areas such as'psy-
chology, and the combined efforts of sciences producing
computer systems for color measurement. The findings of
research in other sciences could be utilized by designers
and firms producing materiel for the home. In a recent

article on color research reported in the gourna; or the
Optigal Sogiety gf America, Robert M. Boynton makes this

observation:

There appear to have been four major categories

of experiment related to this effort: (the theory
of light and colors) these have involved (1) color
mixture, (2) color discrimination, (3) chromatic
adaptation, and (4) spectral sensitivity. The need
for increased mutual understanding and cooperation,
among color researchers utilizing vastly differing
approaches will increase, and not decrease in the
future. . . . However different our approaches may
seem we must not lose sight of the fact that we
are all dealing with the same basic problems.1

A

1Robert M. Boynton, "Contributions of Threshold Meas-
urements or Color Discrimination Theory," Journal or the
thiggl Sgciery of Amgrigg, 53, No. 1 (January, 1963 , p.
165.

23

The designer is not mentioned by Boynton when he
discusses the problem of mutual cooperation in research
studies. However, the designer could make excellent use
of some of the investigations reported by the members of
the Optical Society. An example of this is a study titled
gg;or and Efficiency of Aumrnescent i ht Sggrgegyreported
by Henry F. Ivey for the Research Department of Westinghouse
Electrical Company.1 The report was on research conducted
to study the effect on color of light sources. Color changes
which occur with the use of various phosfors used in fluores-
cent lighting were studied in this investigation. Color
changes due to the use of fluorescent lights has for some
time created problems for designer as well as consumer.

Efforts are being directed toward simplifying meth-
ods of determining color differences. Eugene Allen has re-
ported the findings of his study for the American Cyanamid
Company.2 Several researchers have worked on computer pro-
grams to facilitate the calculation of small color differ-

ences. One study reported for the American Cyanamid Company

 

1Henry F. Ivey, "Color and Efficiency of Luminescent
Light Sources," Journal of thg Optical Sogiery of America,
53, No. 10 (October, 1963 , p. 1185.

2Eugene Allen, "Simple Graphical Conversion of Colori-
metric Ratios to Chromaticity Differences; Application to
Determination of Chromaticity, Difference of Near-White

Samples," Journal of the 0 i a Societ of America, 53,
No. 9 (September, 1963), p. 1107.

24

gave the results of the use of the Burroughs 20 S Computer.1

The development of the computer can supplement our present
color knowledge, but it can scarcely be expected to replace
the trained eye.

George Ingle and Frederick Stockton, researchers for
Monsanto Chemical Company, reported their study using auto-
matic digital computers to facilitate comparing color dif-
ference equations. For the IBM 650 computer a program was
devised to compare the color difference equations of Adams,

2 Re-

Adams-Nickerson and the National Bureau of Standards.
searchers for Davidson and Hemmendinger have also reported
on computer programs for this same problem of determining
color differences.3 The polychemicals department of the
DuPont company reported the develOpment of a computer pro-
gram for an adjusted-hue color order system. They make this
statement concerning the value of this research.

A frame of reference such as a color-order system

or color space is particularly valuable when psy-

chophysical aspects of color (such as colorimeter
readings) must be compared with the psychological

 

1Shelia Meyer, "Calculation of Color-Difference Equa-
tions," Jgggngl gf rhe Optigal Society gr Amgrrgg, 52, No.
4 (April, 1 6 , p. 475.

2George Ingle and Frederick D. Stockton, "Comparison
of Color Difference Equations," Jogrnal of the Qprigal Sg-

gi 31 of Amerrga, 52, No. 5 (May, 1962), p. 604.

3Hugh R. Davidson and Henry Hemmendinger, "Tri Stim-

ulus Difference, Computers," Jogrnal of the Ogrical Sgciety
or Americg, 51, 12 (December, 1961), p. 1459.

n...‘

25

attributes, hue, lightness and saturation of the

corresponding color perception. Many color-order

systems meet the requirements for relatively low

chroma surface colors. Few, however, have been

tested for applicability to high chroma transpar-

ent specimens, a field of particular interest to

this laboratory.1

Joint operations between the computation laboratory

and the photometry and colorimetry sections of the National
Bureau of Standards have resulted in the development of
better methods for the computation of spectrophotometric
and colorimetric data on automatic computers. This is one
of the most extensive programs of its kind for the standard-
ization of color for spectrOphotometric data with the help

of the electronic computer.2

Research in the field of color
combined with computer data tabulations opens a wide field
of endeavor for research in basic design.

Psychologists have also conducted research on the
components of design. Studies reported by psychologists
are related to the response mechanism of the various com-
ponents of design, or the attributes of these components.
Weight-illusion, aesthetic experiences, and creativity in

design are examples of the areas that interest the psychol-

ogist. An analysis of the linear relations between color

 

1M. E. Faulhaber and P. D. Schnelle, "Cube Root Co-

ordinate Color-Difference Computer,",ggg§n§;_gf_sn§_9231§§l
W. 52. No- 4 (May. 1962 . p. 604.

2Edgmont'Arens, "Mechanized Conversion of Colori-

metric Data to Munsell Renotations," Jogrnal or thg Optical
Sociery 0; America, 50, No. 8 (August, 1960), p. 803.

‘flllllk.

26

connotations and the color perception of hue, lightness,
and saturation was conducted by psychologists Benjamin Wright

and Lee Rainwater.1

They sought to find out in what way
fairly constant color connotations (happiness, forcefulness,
warmth, and elegance) related to the three basic color per-
ceptions of hue, lightness and saturation.

Some studies in consumer research have been conducted
in the area of interior design. The results of such research
are not clear to this investigator.

Walter Baerm, a consultant designer, expresses his
concept of consumer research in this way:

The relationship between manufacturer and consumer--
in spite of the so-called consumer research-~13 an
utterly blurred one in terms of consumer desires

and consumer needs.2

Eliot Noyes, industrial designer for IBM, shrugs
off consumer surveys as, "just a form of reassurance, some-
thing a corporate executive leans on because he is scared
not to. It has led to all kinds of corruption in designers
and in their design."3

The Kroehler Company has recently published its

report on consumer research. The findings from this report

 

1Benjamin Wright and Lee Rainwater, "The Meanings
of Color." Wm. 67 (1962). p- 89-

2Arens Edgmont, "Color Goes Natural," W-
ggrrgg, Vbl. 1, No. 2 (June, 1963), p. 16.

3Walter McQuade, "An Industrial Designer with a Con-

spicuous Conscience," Eprrggg, Vol. LXVIII, No. 2 (August,
1963), p. 135.

...-.-

~...

 

 

27

indicate that the consumer is becoming more aware of good
design, and more confident in his ability to select furnish-
ing wisely. The consumer is now less inclined to be sold
something he doesn't really want.1 This would indicate

a need for producing better designed products for interior
design.

Several studies have been made in the area of tex—
ture. In a pilot study, "The Effect of Texture of a Pile
Weave on Color,"2 Shipley found that pile texture affects
the apparent color of the finished article.

The study of "The Effect of the Height and Yarn

3

Size of a Pile Texture on Color," was undertaken by Gross.

In this study the color change resulting from varying pile
heights and size of yarn was measured.

"The Effect of Texture on Additive Color Mixture
in Fabric,"4 a study conducted by Vela, found that texture
does affect the value of additive color mixture in fabric.

1Dr. Ernest Richter (director), "The New Consumer:
Cautious or Confident?",5rggh;gr_§gggr§_}1 (1963), p. 4.

2Mary L. Shipley, "The Effect of the Texture of a
Pile Weave on Color" (unpublished study), Western Reserve
University, Cleveland, Ohio, 1959.

3Lorraine Haugk Gross, "The Effect of the Height
and Yarn Size of a Pile Texture on Color" (unpublished Mas-
ter's Thesis), College of Home Economics, Michigan State
University, 1961.

4Gay Wright Vela, "The Effect of Texture on Addi-
tive Color Mixture in Fabric" (unpublished Master's Thesis),
College of Home Economics, Michigan State University, 1961.

28

The aforementioned studies have shown that color
changes can be measured. Since color coordination of fab-
rics of various texture is an important part of interior
design, information of this kind should be of value to de-
signers and manufacturers.

It is quite obvious in reviewing the literature
that few reports are published on basic design research
and.that only a few designers are deeply concerned over
the lack of research in the design area. It is also ob-
vious that research is being carried on by other profes-
sions which has bearing on the design field. It is impor-
tant to know whether the designers and manufacturers of
materiel for interior design are interested in research,
if they do any research, or if they feel such research
could be carried on in the university atmosphere. Guid-
ance is sought from designers and manufacturers as to what

direction research efforts should take.

CHAPTER III
METHODOLOGY

The methodology will include: (1) selection of
sample, (2) selection of method, and (3) development of
the instrument: The study attempts to determine from a
selected group of designers and manufacturers what research
might be conducted which would be useful to the industry
and the kinds of research programs which universities might
develop to meet the needs of industries concerned with in-

terior design materiel.

W

The investigator decided for this exploratory study
to contact a representative group of designers and manufac-
turers of materiel for interior design. This group included
those engaged in production of fabrics, carpets, upholstery,
plastics, wallpaper, and furniture. This sample was not
confined to any one area of the country. It included a
cross section of all types of industries engaged in manu—
facturing products for interior design. Several associa-
tions involved in research in this area were also contacted.

Names of designers and manufacturers were selected
from several sources:

1. The personal knowledge of Mary Shipley, Associ-

ate Professor, Michigan State University

29

 

 

 

 

k

30

2. Designers and manufacturers associated with
the Merchandising Mart, Chicago, Illinois

3. The personal knowledge of the home economist
for a large plastics producing company

4. Contacts suggested by designers or manufacturers

5. Sources from the executive committee of the
Electrical Women's Round Table

6. The personal knowledge of Dr. Carl Frost, Pro-

fessor of Psychology, Michigan State university

§e1ggrrog gf Methog
This study was designed as an exploratory problem

to determine the needs for basic design research in the de-
signing and production of materiel for interior design.

The data were to be collected from designers and research
personnel of manufacturing firms. The instruments used for
collecting the data were personal letters and personal in-
terviews. These two techniques were selected to allow de-
signers and manufacturers to give unstructured answers and
to encourage freedom of expression. The personal letter
(see Appendix A) was structured with the information sought
embodied in the letter itself. Questions asked of those
contacted were:(1) are you at the present conducting any
research in shape, color, texture, (2) could studies con-
ducted in the aforementioned areas be useful to you, and
(3) what research in basic design would you like to see

investigated under university conditions? Selecting the

31

individual in an organization that would be most qualified
to aid in the study presented a problem. In some cases it
was possible to make a direct contact with this person and
in others where a definite name was not known the letter
was sent to the research director or department of research

and development.

D ve n of Ins ru nt

To test the reliability of the instrument the first
letter was sent to seven manufacturers engaged in the pro-
duction of materiel for interior design. The companies
were selected on the basis of their progress in research
or in design cf products for the home. '

Four of the six companies replied to the letter
(see Appendix A). As a result of one of these contacts,
the first personal interview was arranged. The home econ-
omist for a company engaged in research and production of
plastics for the home made the arrangements for this inter-
view. Included in the interview were the home economist,
the color stylist for the company, the academic advisor,
and the investigator of this study.1

The home economist agreed to evaluate the instru-
ment used for the original contacts. At her suggestions

minor changes in the instrument were made to clarify its

meaning. The paragraph asking permission to use the name

 

1Discussed under I te vie , p. 59.

 

32

of the company was deleted because the home economist ex-
plained that industry is reluctant to grant permission to
use its name in any instance where it may be quoted. The
home economist suggested that it was more important to get
the company or the designer interested in the project first,
then talk to him about using his name. The revised letter
(see Appendix B) was then sent out to twenty-five people,
including designers and manufacturers.

After receiving the replies from Instrument II it
was evident that the letter was not yet clearly understood.
For some reason, the results wanted were not forthcoming.
It was possible that designers and manufacturers were un-
willing to take the time to think through the problem.
There was also the possibility that designers found it
difficult to communicate. The decision was made to seek
out an expert in the field to give guidance to the study.

An interview was arranged with an industrial psy-
chologist who has served as a consultant to corporations
engaged in production of interior design materiel to dis-
cuss methods of contacting industry and the problems in-
volved in this study. The psychologist suggested that an
interview with Robert Probst, Ann Arbor, Michigan, might
be of value to this study. Mr. Probst is engaged in design
research for a corporation producing furniture and in this
capacity might give some thought to the study. The inter-

view was granted.

 

33

A second suggestion given by the psychologist was
concerned with the particular person in a company that might
be best qualified to give guidance in this study. He sug-
gested that seeking out this qualified person might further
our study and through his experience he was able to cite
several designers that might fit this category.

Two opportunities for making additional contacts
were possible at this time. These opportunities were through
the Electrical Women's Round Table, and the Merchandising
Mart in Chicago.

The Electrical Women's Round Table, a national or—
ganization of women in business, had given the investigator
a scholarship to be used in graduate study. They were in-
terested in hearing a report on the kind of study being
conducted. This request presented an opportunity for the
researcher to make personal contacts with representatives

of industry. Display of the results of a texture study

1

by Gross was instrumental in interesting the women of this

group in the problem being investigated. Several names of
individuals who might be interested in the study were sup-
plied by the group.

Designers and manufacturers were contacted person-

ally by the academic advisor at the Merchandise Mart in

lLorraine Haugk Gross, "The Effect of the Height
and Yarn Size of a Pile Texture on Color" (unpublished Mas-
ter's Thesis), College of Home Economics, Michigan State
University, 1961.

34

Chicago. They discussed the possibilities of such a study
and agreed that it would take some time and considerable
thought to provide adequate answers. Several of the men
agreed to give some thought to the problem. The instrument
was presented for evaluation and the suggestion was made
by the designers that enclosing the problem outline with
the letter might help to explain the purpose of the study
in greater detail than was possible in a letter. Some re-
vision of the instrument was made to explain the inclusion
of the problem outline. The letter was revised again to
increase its validity (see Appendix C).

Eighty designers and manufacturers were then con-
tacted using the personal letter and the problem outline
enclosure. Fifteen of the eighty people had been previously
contacted at the Furniture Mart in Chicago. Replies received
from contacts suggested the names of individuals and/or
organizations that might be interested and the contacts
were made. Individuals who expressed interest received
a follow-up letter with specific questions enclosed to clar-
ify the nature of the study.

In seeking information the personal letter always
preceded the interview, which was also designed to allow
freedom of expression on the part of the person interviewed.
Two interviews were arranged with the home economists and

the industrial designers of a large appliance company.

35

Additional interviews were suggested by designers and manu-
facturers,which were arranged with companies in Michigan

expressing an interest in discussing the study.

CHAPTER IV
DISCUSSION OF FINDINGS

A descriptive content analysis of the data collected
will be used in the discussion of the findings of this study.
The instruments used to contact designers and manufacturers
and the replies received can be found in the appendixes.
Replies were received from 42 of the 142 contacts made with
the various instruments. Six personal interviews were granted.

8 u n I'__% LAD sew

Instrument I was a personal letter with the infor-
mation sought embodied in the letter. Three specific ques-
tions were asked: (1) are you conducting any research in
shape, color, texture, (2) could studies conducted by uni-
versities in these areas be useful to you, and (3) what re-
search subject matter would you like to see investigated
under university conditions? The letter also included an
explanation of the investigator's purpose in conducting
the study, and asked permission to use the company name
in the study.

Six companies were contacted using the original
instrument which was a personal letter and with the infor-
mation sought embodied in the letter (see Appendix A, l, p.
82).

36

37

Four of the companies contacted replied. Information given
by these four companies was not helpful in determining the
need for research for the investigator. However, the re-
plies did help in making the decision to clarify the letter.
The president of a company engaged in the manufacture of
furniture replied for his company (see Appendix A,l, p. 82).
This reply was a strong,negative one. He definitely was
not interested in research carried on by a university. He
gave no reason for his feeling concerning research.

A reply was received from a representative for a
second furniture company (see Appendix A,2, p. 82). This
person wanted to know how the information would be used.
Concern was expressed for any participation in such a proj-
ect which might jeopardize the company's relationship with
its leading designer. A follow-up letter was sent to this
company which attempted to explain further the purpose of
the study. There was no reply to the second letter.

A textile fiber producing company replied that they
were satisfied with their arrangement with a well—known
designer (see Appendix A,3, p. 83). The home economist who
replied for the company stated that the designer was engaged
to experiment with new fibers produced by the company, and
the company felt that the designer was meeting their needs.
Her findings were made available to any industry purchasing
their fiber. The home economist stated that the company

did not carry on research in the components of design as

38

their research concerned itself, for the most part, with
the development of new fibers. Several other respondents
suggested that the investigator contact this company because
they were doing the type of research being investigated.

The respondents apparently were unable to distinguish be-
tween design research and fiber development research.

The home economist for a large plastics producing
company expressed interest in the study. After further
correspondence (see Appendix A, 4 and S, p. 83), the home
economist suggested that a personal interview to discuss
the problems might be of help in understanding the nature
of the study, and the interview was arranged.1

Table I (p. 39) is a summary of the kinds of responses
received from Instrument I. There were no answers to the
questions asked. One home economist expressed interest
in the study. Her interest led to an interview which aided
the investigator in refining the instrument which apparently
was not understood.

In evaluating the results of the replies received
some difficulties in understanding the instrument were in-
dicated.

l. Representatives of industry may not have been

willing to think through the problem.

2. The instrument may not have reached the person

best qualified to deal with the problem.

 

1Discussed under W, p. 59.

 

 

 

39

TABLE I

SUMMARY OF REPLIES TO INSTRUMENT I

 

 

Replies Requested by
Instrument I

Designers
Research
Personnel
Economists
Public
Relations
Sales
Manager
Stylist
Executives

Home

Totals

 

 

Research in progress
Research needed

University research not
helpful

University research helpful

Indicated need for color
research

Indicated need for research
on shape

Indicated need for research
on texture

 

Totals

 

Replies Not Requested by Instrument I

 

Importance of consumer
preference

Importance of market research
Intuition and experience

Problem of technology and
engineering

Use consultant in design 1
Fear of pirating of ideas
Fear of stifling creativity

Requested further information 1 l

Indicated no interest in

study 1

Refer to other sources 1

 

Totals 3 2

 

 
 

4

\

 

4O

3. The instrument may not have been clearly under-

stood.

4. The instrument may not have been clearly stated.

I 41-U‘ Nune’- _ _ 21- '_‘- ,:; 91 of 'eo- k— .591: a“- B

Instrument II (see Appendix B, p. 85) was a revised
version of Instrument I. The revision consisted of a more
elaborate explanation of basic design (shape, color, texture)
research. Two specific questions were asked of the company:
(1) which studies in the aforementioned areas could be use-
ful to you or your company, and (2) are there other areas
of research concerning the components of design which you
feel could be carried on best under university conditions?
An attempt to clarify the intent of the problem was made
by explaining that the study made no attempt to develop a
formula for design, and that end product design was not the
objective of the investigation. The revised letter was sent
to two home economists in industry for evaluation. Further
revisions in the instrument were made at the suggestion of
the home economists.

Because Instrument Number II was sent to only the
two home economists, a table was not compiled for this in-

strument.

111: _ .u_1L_°', :40. P ‘ , 01 - 1‘.- .': 9.09610...
Instrument III (see Appendix C, p. 90) was a re-

vision of Instrument II. At the suggestion of a home

41

economist and a color stylist for a plastics producing firm,
the paragraph was deleted which asked permission to use

the name of the company in the study. The more detailed
explanation of basic design was retained. The specific
questions,(l) which studies in the areas of basic design
research could be useful to you or your company and (2)

are there other areas of research concerning the components
of design which you feel could be carried on best under
university conditions, were retained in Instrument III which
was sent to ten designers and manufacturers.

Two replies were received from the ten contacts made
with this instrument. A well known textile designer stated
that he offered such assistance only when acting in an ad-
visory capacity (see Appendix C,l,p. 92). This designer
has written numerous articles expressing his concern for
the design of textiles produced in this country and has re—
peatedly expressed his interest in educational efforts to
aid students in becoming better designers. Nevertheless,
he was either unable or unwilling to give suggestions for
the study and apparently makes his contribution only when
reimbursed for his efforts.

A designer, who is one of a team for a design as-
sociation, stated that he felt that the investigator might
better devote the time and effort to educate the public
in what design is all about (see Appendix C, 2, p. 92).

He felt that the consumer has had great influence on the

..H.

 

42

quality of design being produced; however, he did not ex-
plain how the consumer exerts this influence. Table II,

p. 43, was compiled to show the results of the responses

to Instrument III. The instrument was sent to ten design-
ers and research personnel. Two designers replied express—
ing either no interest in the study or mentioning the prob-
lem of consumer influence on the selection of design in

products for the home.

In‘.AL4m o‘_ - a . D_& :-i- o- R-p, ;# A..- .,. D

At the suggestion of the designers contacted at the
Merchandise Mart, the problem outline was included with In-
strument IV (see Appendix D, p. 94). The instrument was
revised and condensed because of this inclusion. This re-
vision stated the objectives of the study, to determine
the needs for research in the components of design, and to
determine the kinds of research which would be useful to
designers and industries in the fields related to interior
design which could be conducted under university conditions.
Emphasis was placed on the fact that the study was primarily
concerned with basic research in the design elements of
shape, color and texture.

A home economist replied for a chain store (see
Appendix D, 2, p. 98). She stated that she felt that the
problem required more thought than the average person was
willing to give. This may have been the reason for the

kinds of answers received from many of the respondents.

43

TABLE II

SUMMARY OF REPLIES TO INSTRUMENT III

Replies Requested by Totals

Instrument III

Designers
Research
Personnel
Economist
Public
Relations
Sales
Manager
Stylist
’Executive

Home

 

Research in progress
Research needed

University research not
helpful

University research helpful

Indicated need for color
research

Indicated need for research
on shape

Indicated need for research
on texture

 

Totals

 

Replies Not Requested by Instrument III

 

Importance of consumer
preference 1 1

Importance of market re-
search

Intuition and experience

Problem of technology and
engineering

Use consultant in design
Fear of pirating of ideas
Fear of stifling creativity

Requested further informa-
tion

Indicated no interest in
study 1 1

Refer to other sources

 

Totals 2 2

‘ov-‘m-u

I one

 

44

The stylist for a manufacturer of carpets replied
for her company (see Appendix D, 3, p. 98). She stated
that research to this company means a study of home furnish-
ing style trends, as shown in the manufacture of products
for the home. She did not state the manner in which these
trends are develOped in the furnishing industry. Public
taste was considered of primary importance to this stylist;
however, she did not explain how this public taste is de-
termined. The stylist expressed interest in the motivation
behind consumer acceptance of a product. She considered
basic design research to be of academic interest, but not
significant to the carpet industry.

The science coordinator for a society for testing
and materials replied for his organization (see Appendix D,
4, p. 99) stating that this society has several projects
which relate to the subject under study. Two technical
committees have been set up to cover parts of this area.
Two symposia on Appearance of Materials have been sponsored
by the committees. The symposia were as follows:

1. Visual Aids for Standardizing and Communicating

Product Appearances
2. Visual Appearance, A Five-Attribute System of
Describing

Another committee on Sensory Evaluation of materials

and products is attempting to standardize measurements in-

‘volving the senses and relating sensory evaluations to

45

instrumental measurements. he society had attempted to
compile a bibliography of papers in this area of research
with little success. The group feels rather strongly that
research in basic design is needed.

Two stylists for a fabric producing company were
contacted by the Promotions and Publicity Manager for his
company (see Appendix D, 5, p. 99). Apparently neither
stylist understood basic design research. The respondent
makes one statement that may have a bearing on the study.
He states that stylists and other creative peOple have dif-
ficulty putting their thoughts into words.

The sales manager for a company engaged in the manu-
facture of furniture replied for his company (see Appendix
D, 6, p. 100). This sales manager stated that little re-
search in basic design is being conducted by industry but
a great deal is being conducted on materials and methods.
The respondent mentioned the fact that a large fiber pro-
ducing company conducted basic design research on non-woven
fabrics. This company was contacted by the investigator
and the company replied that they did not carry on basic
design research. A well known designer experimented with
their new fibers and made the results of her experiments
available to their customers. The respondent for the fur-
niture producer also mentioned the problem of consumer re-
search and consumer acceptance as important to this company.

A stylist for automotive interiors interpreted the

46

problem as pertaining to market research (see Appendix D,
7, p. 101). The instrument was sent to the department of
market research for a reply. This department replied by
sending the investigator a copy of a recent talk on the
car of the future, regardless of the fact that the instru—
ment definitely stated that the study was not concerned
with market research.

In replying for his company, the vice president
in charge of sales for a textile company gave some inter-
esting comments (see Appendix D, 8, p. 101). He stated
that in all of their products, design is a problem of engin-
eering rather than visual effect. It is evident that, like
many others, this respondent does not comprehend the breadth
of the term design.

The sales manager for a furniture manufacturer in-
terpreted the problem of basic design research as pertain-
ing only to applied design (see Appendix D, 9, p. 101).
Apparently he did not feel that a good design would aid
in marketing his product. He produced whatever he thought
would sell. This same designer replied to specific ques-
tions asked in a follow-up letter (see Appendix E, 2, p. 115).

The executive secretary from a learned society di—
rected the investigator to other sources of information
(see Appendix D, 10, p. 102). Like many other respondents
he was certain that someone else was carrying on the research.

When contacted, the investigator learned that the research

47

was not being carried on by the societies mentioned by the
executive secretary.

The vice president in charge of sales replied for a
plastics producer (see Appendix D, 11, p. 102). Like many
others, he interpreted the study as pertaining to consumer
research.

The advertising and sales promotion manager replied
for a carpet manufacturer (see Appendix D, 13, p. 102). He
evidently interpreted the study as pertaining to consumer
research since consumer preferences in color and design
were mentioned repeatedly in his letter. Apparently this
is of greater concern to the carpet industry than any basic
design research, or possibly they do not understand basic
design research as defined by this investigator.

The manager of a market research organization re-
plied to the letter addressed to the stylist for interiors
for an automobile manufacturer (see Appendix D, 12, p. 102).
It was hoped that replies would come from stylists, design-
ers, or research personnel, to whom the letter was addressed.
In most cases the replies were not from these people. The
reason for this is not known.

A well known designer replied for his own company.
He simply agreed with the proposed study and declined to
offer any assistance (see Appendix D, 14, p» 104).

A lawyer replied for the National Committee on De-

sign Legislation (see Appendix D, 15, p. 104). This committee

48

was contacted at the suggestion of another respondent.
The respondent stated that he or his committee did not
participate in research of this sort.

The chairman of the color committee for a learned
society considered the study much too complicated for one
investigator (see Appendix D, 16, p. 104). In his reply
he listed several contacts to be made that might prove help-
ful. Several of these contacts had already been made. One
had definitely stated that it did not carry on basic design
research. Another contact was a large ink-producing company
which also manufactures pigments for paints. This company
sent a folder of color chips to the investigator as a reply.
.A third source sent material forecasting color trends. At
this point the question might be asked, "What is research?"
Can the mixing and development of fashion colors or the
forecasting of color trends be considered research?

The merchandising manager for a well-known fabrics
producer replied for her company (see Appendix D, 17, p. 105).
She interpreted basic design research as consumer research
or market research. It was stated that this company was
interested mainly in knowing what the customer wants . . .
period of design, colors, and patterns. The company finds
this information readily available from their own sales
figures.

The designer for a furniture manufacturer replied

for his company (see Appendix D, 18, p. 106). He stated

49

that, as head of the department for two art schools before
his employment as a furniture designer and due to his ex-
perience in the business world, he understood the problem
under study and would be happy to assist. An interview to
discuss the study was suggested. This was arranged and
will be discussed under the section on interviews (see p.
59).

The manager in charge of Public Relations and Public
Affairs replied for a company engaged in the manufacture of
floor coverings (see Appendix D, l9, p. 106). The reply
from this company was a strongly negative one. The manager
stated that he was interested in the study but could not
suggest any areas to be investigated, partly because of
the nature of their products and partly because of the money
involved in such a study. This respondent felt that his
company might better continue their own research rather
than co-sponsor research projects. The company seemed to
think that a grant for research would be sought if sugges-
tions for investigation were given.

The director of the research laboratory for a chain
store expressed the belief that such a study would stifle
creativity (see Appendix D, 20, p. 107). The respondent
stated that customer response will shape the trends in the
future. He felt that individual taste is more important
than basic research in design.

A well known designer of products for interiors was

50

of the opinion that texture was an unexplored field for
the designer (see Appendix D, 21, p. 107).

The manager in charge of consumer and market research
replied for a large appliance manufacturer pointing to a
need to know more about the people for whom they design
products (see Appendix D, 22, p. 107). Like many other
respondents, he cited the consumers' wants and needs as
being of prime importance. The need for market research
was also mentioned in this reply.

An industrial designer employed by a large appliance
manufacturer stated his belief that research in basic design
was definitely needed (see Appendix D, 23, p. 108). He
indicated that knowledge gained from this could be quite
helpful. After stating his opinions, he also expressed
concern for consumer demands. This designer was one of
the few who expressed a feeling of responsibility in pro-
ducing well-designed articles for the home, expressing a
desire to guide public taste and design appreciation into
channels that are a little above the present level.

The vice president in charge of Research and Develop-
ment replied for a plastics producer. This respondent stated
that basic research at the university level would be less
important than basic training in the arts and sciences (see
Appendix D, 24, p. 109). He also pointed out that the re-
search approach would lead to a worse type of academism

than the nineteenth century ever knew. This respondent

 

51

failed to clarify this statement or to explain upon what
premise he based his assumption.

The president of a furniture producing company sug-
gested that an interview be arranged to discuss the problem
(see Appendix D, 25, p. 110). He felt that some help could
be given if there was an opportunity to ask questions con-
cerning the study. He stated that he did not understand
basic research in design. This interview was arranged and
will be discussed under the section on interviews (see p. 59).

A stylist for automotive interiors expressed inter-
est in the study, but preferred to discuss the problem in
an interview, with the major professor, the investigator
and the stylists participating in the discussion. Time
did not permit the acceptance of this invitation.

Table III (see p. 52) is a summary of replies reg
ceived from contacts made with Instrument IV which included
the problem outline. It is evident that including the out—
line helped to clarify the study because a greater number
of replies were received and for the first time answers
were given to the questions asked. Eighty designers and
research personnel were contacted with twenty-six respond-
ing. As Table III indicates, replies were received from
other personnel in the industries contacted. Nearly half
of the responses were from sales managers, public relations
personnel and stylists. Designers and sales managers were

more aware than other respondents of the need for research

52

TABLE III

SUMMARY OF REPLIES

TO INSTRUMENT IV

 

 

 

 

 

 

 

 

 

 

 

 

U) H 4‘3 U) 8
. s. a m m c >

Replies Requested by cu U I: E U 0 f3 4,; '3 Totals
Instrument IV 3 :38 0 HI" m 0-» «4 :3

-a a)m QJC F«m q1m F4 0

m w 58 as; 23% M

843290, 359 ..., m; Lu:
Research in progress
Research needed 3 l l 1 6
University research not
helpful 1 3
University research helpful 1 1 2 7
Indicated need for color
research 2 l 2 5
Indicated need for research
on shape 2 l 2 5
Indicated need for research
on texture 3 l 2 6
‘Totals 12 6 0 l 12 2 33'

Re lies No ested b Ins ument IV

Importance of consumer
preference 1 l 6 2 10
Importance of market research 1 l 2
Intuition and experience 2 2
Problem of technology and
engineering 1 l 2
Use consultant in design 0
Fear of pirating of ideas 1 1
Fear of stifling creativity 1 1
Requested further information 1 l 2
Indicated no interest in
study 1 2
Refer o h r 0 es 2 l 2 5
’Totals 2 4 l 0 3 27'

'Totals are greater than the number of respondents because
some respondents indicated more than one area of impor-
tance. Other replies had no bearing on the study.

53

in the field of design. Designers and research personnel
were less inclined to consider consumer and market research
of great importance, while sales managers favored consumer
research. While the number of respondents is small, the
distribution of responses in Table III gives some indica-
tion of the feeling of a need for basic design research by
persons engaged in design and production of materiel for

the home.

Instrument Number V an D sc ssion 0 Re lies (A endi E
Specific questions concerning the study were incor—

porated into a personal letter which was sent to various
individuals. These contacts were made as a follow-up with
respondents previously contacted. One home economist and
one executive replied to these questions: (1) Is there a
need for research in basic design shape, color, texture?
(2) Would you consider research in texture and its effect
on color useful to industries in this field? (3) Could a
body of knowledge in this area be compiled that would be
useful to designers and manufacturers? (4) Do you feel that
the Common Market may force industries to up-grade the de-
sign quality of their products? (5) Could basic design
research aid industries in meeting this competition? A
home economist for a mail order chain store suggested that
adequate research has been conducted on color unless it ap-

plied to a specific problem (see Appendix E, l, p. 113). This

54

respondent recognized the need for research in texture, but
did not appear to know what research was needed in this area.
She has also stated that there was no need to be concerned
about foreign competition because there was not enough com-
petition to have an effect on United States markets. This
competition has been keenly felt in areas not related to
this study, and it is possible that competition from foreign
countries may be increased among the industries producing
articles for interior design.

In another response to the same questions (see Ap-
pendix E, 2, p. 115) the executive for a furniture manufac-
turing company expressed the belief that the basic research
in design is needed and could be helpful, but failed to
state what research he felt should be conducted. The re-
spondent also mentioned a problem that relates to the field
of interior design which was concerned with the education
of the buyer and/or salesman in the understanding of design.
The executive also recognized the problem of mediocrity in
goods produced in the United States. He stated that foreign
competition could eventually have some influence in the
design quality of products for interiors.

Table IV (see p. 55) summarizes the replies received
from the Instrument V. Both the home economist and the ex-
ecutive could see some need for research in shape, color and
texture, as they relate to a specific problem, when direct

questions were asked of them.

55

TABLE IV

SUMMARY OF REPLIES TO INSTRUMENT V

i

1

Replies Requested by
Instrument V

Totals

Designers
Research
Personne1_
Home
Economists
Public
Relations
Sales
Manager
tStylist
Executives

 

Research in progress
Research needed

University research not
helpful

University research helpful

Indicated need for color
research 1 l 2

Indicated need for research
on shape 1 l 2

Indicated need for research
9n texture _hl l 2

T als ' 3 3 6

 

Replies Not Requested by Instrument V

Importance of consumer
preference 1 1

Importance of market research
Intuition and experience

Problem of technology and
engineering

Use consultant in design
Fear of pirating of ideas
Fear of stifling creativity
Requested further information

Indicated no interest in
study

Refer to he sou es

Togals uéL__Jh;_.

 

56

Several of the responses to the instrument were not
pertinent to the study. A wallpaper producer sent a folder
of new designs in wallpaper with no letter of explanation
accompanying this folder. A stylist for automotive inter—
iors sent an illustrated copy of a talk given on market
research. A set of color chips was received from an ink
producing company which was said to be engaged in extensive
color research. Another source replied with a brochure of
color trends for the coming year. The brochure was the work
of a well-known colorist. A paint company replied by send—
ing educational material on using color in the home. Other
respondents mentioned that this company was also engaged
in extensive color research.

The materials which were not pertinent to the study
may have been sent by a secretary for the designer or manu—
facturer. It is possible that the instrument never reached
the person to whom it was addressed. Where possible, con-
tacts were made with an individual in an industry. If no
information was available concerning the best qualified
individual to contact, the instrument was addressed to the
Research Division for the company.

Table V (see p. 57) summarizes all of the responses
to all of the instruments. As can be seen from this table,
the replies came from a number of contacts which the investi-
gator did not intend to make. Designers and sales personnel

made the greatest contribution to the study; however, the

57

TABLE V

SUMMARY OF REPLIES TO ALL INSTRUMENTS

 

 

 

 

 

 

 

“ .3: :3 2 §
Replies Requested by 3 L)C ~H o u 4J'H Totals
all Instruments 3, :38 E .313 m 8. .3 ‘5

-H a»m a)c rim ale F: u

m awn EEO IJH r4: :~ m

w ¢bm 0:9 3‘” wen-u x

Q use 31m m an: vars
Research in progress
Research needed 3 l 1 l 6
University research not
helpful 1 2 3
University research helpful 1 l 3 2 7
Indicated need for color
research 2 1 1 2 l 7
Indicated need for research
on shape 2 l l 2 l 7
Indicated need for research
on texgugg 3 l l g l 8
Tgtals 3 l 3 3 '

Replies Not Requested, all Instruments

Importance of consumer
preference 2 l 6 2 1 12
Importance of market research 1 l 2
Intuition and experience 2 2
Problem of technology and
engineering 1 l 2
Use consultant in design 1 1
Fear of pirating of ideas 1 1
Fear of stifling creativity 1 l
Requested further information 1 l 2 4
Indicated no interest in
study 1 l 2 4
.52§££_£&L£EEEELJ¥¥HEEEE_ :£___l._.____Ji —§___
Totals 4 4 4. l 10 5 6 34

 

'Figures do not correspond to number of respondents since
some respondents gave more than one area to be studied.
Others gave no information that was pertinent to this study.

58

contribution is not significant due to the small number who
responded. Research personnel, to whom the instrument was
addressed, offered little assistance to the study. Failure
to report research under study which is shown in Table V
may be due to lack of communication among personnel in a
firm or the fear of the pirating of ideas may have been a
contributing factor. It is also possible that the indus-
tries contacted did not have an on-going research program.
Table V also illustrates the importance of the consumer in
the eyes of sales managers and other personnel in the firms
contacted.

Many of the replies were received from the market
research departments, or the promotion departments, or the
consumer research departments. The reason for the wide
variation in the sources of replies is not known, other
than the fact that they may not have had an on-going research
program.

Participants in the study included 142 contacts made
with designers and manufacturers of products for interiors.
The contacts were as follows:

19 designers

36 manufacturers of floor coverings, curtains,and

draperies

12 industrial designers

12 home economists in industry

8 learned societies

18 manufacturers of plastics

19 producers of housewares and appliances

12 furniture manufacturers

2 fiber producing companies
3 editors of design magazines

 

_..A

 

“,
u

v I

 

S9

Integviews

Interviews were undertaken to obtain more informa-
tion that was pertinent to the study than could be obtained
by correspondence.

The interview was structured to allow freedom of
expression on the part of the person being interviewed.

The purpose of the study was explained which included an
explanation of basic design research. The questions asked
were, (1) are you at present conducting research in shape,
color, texture, (2) could studies conducted by universities
in these areas be useful to your company, and (3) what re-

search subject matter would you like to see investigated.

Interview Number I

 

The first interview was arranged with the color
stylist and the home economist for a large plastics pro-
ducing company. Both of these people had difficulty in
understanding the nature of the problem. This may have
been due to the inexperience of the investigator. Infor-
mation gained from this interview can be summarized as fol-
lows:

1. Both the home economist and color stylist had
difficulty in understanding the investigator's
concept of basic research in the components
of design.

2. Promotion was of most importance to industry.

60

3. The company feared the pirating of ideas, styles,
or color selections.

4. Industry might be difficult to approach because
of the aforementioned fears.

5. After lengthy discussion both of these people
agreed that there was a need for research in
this area, but they had no idea where a univer-
sity could start, or how to disseminate the in-
formation to industry.

6. Since many in industry did not understand basic
design research, they were unaware of the need
for research in this area.

7. The home economist and the color stylist con-
sidered the study to be ahead of the times.

In conducting this interview it became apparent

that neither the home economist nor the color stylist under-
stood basic design research. However, they could express
problems of their own that could be solved by such research.
The home economist displayed the results of some recent
experiments in the texture of plastics. Texture or visual
appearance of new materials is of real concern to the in-
dustries engaged in the production of synthetic materials.
The home economist also expressed a need for research in

the design of a child's chair which could be made of a plas-
tic material. The functional aspects of the chair she had

in mind included the possibility of designing a shape that

 

 

 

 

 

 

r.

...

 

61

could be used in play activities as well as a chair for

seating.

Integview Numbe£.;;

A research consultant for a company engaged in the
production of furniture expressed his views. He stated that
basic design was an area that should be researched by depart-
ments of interior design. He felt that research in this
area should have been well established by this time. This
consultant gave the following suggestions:

1. Research should be conducted in fibers, paints,

coatings.

2. Synthetic materials need research. What tex-
ture or effect should a synthetic material have?
Should vinyl look like the raw material itself?
Is it attractive in itself? Or should it look
like cane or marble or brick? Is the synthetic
wood appearance of vinyl successful?

3. Research could consider the basic fibers and
raw materials. These could be reduced to the
best natural appearance. He cited as an example
the great progress in the design of concrete
blocks.

4. Research could seek the best qualities for ma-
terials to aim toward, for human use. Both

opinion and physical data are needed.

62

Intggview Number III

The home economist and her assistants employed by

anappliance manufacturer offered their assistance in this

shMy. The following information was given by the home

economist :

1.

2.

3.
4.
5.

Design is a relatively new field for this com—
pany.

Design must be considered in conjunction with
the functional aspects of the appliance. Ex-
amples cited were: cleanability of panels,
visibility of dials, readability of clocks.
Color-coding was important to this industry.
Little is known of visual texture.

The home economist cited the company's experi—
ence with a well known colorist in selecting
colors for a refrigerator. The cerise interior
with blue trim, selected by the colorist, was
discarded in favor of the color of a new car
purchased by one of the design staff.

The home economist stated that the company was
interested in consumer preferences, but she
added that these findings often are changed

in the process of manufacturing the article.

Integview Numper IV

The Industrial Designer for the same appliance com-

panY also agreed to aid the investigator in the study. He

63

enressed these ideas:

1.

3.

6.

Good design is not readily available in the low
price field.

One of the biggest problems in design relates
to the buyers and salespeople who sell the prod-
uct in the store. He felt that these people
were responsible for much of the poor quality
of design that appears on the market.

The designer creates beauty, then the mentor
(i.e., manufacturer) takes over, and the result
may be far from beautiful.

Industrial designers have no sense of social
responsibility to the public, nor have they

an understanding of human values. The indus-
trial designer cited as an example the design
of ranges. The things women asked for were
often omitted to save a few cents.

Engineers and designers must work together if
good design is to be achieved.

Market research should ask what consumer dis-
likes, not what she wants.

Psychologists state that light green is the
easiest color to live with, but they fail to
say to which light green they refer.

There is a need for more research on normal

people. The psychologist has been more interested

9.

10.

64

in the abnormal person. Industry needs to know
more about the normal human being. More research
is needed concerning the homemaker's function

in the home.

Only a little is known about texture.

The common market will create stiff competition
for United States industries. This may be good,

in the opinion of this industrial designer.

Ingegview Number V

A designer for a small company engaged in production

cfi’furniture invited the investigator to discuss the problem

cmder consideration. This designer stated that he had ex-

perience as head of two different art schools previous to

the employment in industry. In his letter this designer

stated that his various experiences in the design field

enabled him to understand the study. During the interview

re expressed the following views:

1.

3.

4.

He did not understand how basic research could
be useful to industry.

The designer was not interested in any research
that would be available to his competitors.
Pirating of ideas would prevent an industry from
suggesting research problems for study in a
university research program.

He expressed concern for what will sell rather

than the quality of design.

6.

65

The designer felt that a good idea from one

of his designers was more useful to the company
than any research.

The time element in industry is of utmost im-

portance.

Interview Number VI

The manager and a designer for a furniture company

expressed their views in an interview. They made the fol-

lowing statements:

1.

2.

3.

5.

6.

7.

8.

This industry was not interested in any research
which would be available to its competitors.
Industry is not particularly concerned over

the quality of design in its products.

Industry has no conscience where making money

is concerned.

Salespeople are expected to move merchandise,
which they do not relate to the customer's needs.
Selling is a game, an emotional experience to

a salesman.

When art can be researched, it will be the end
of the world.

Intuitive design offers the best solution.

If basic design research provided factual ma-
terial, how would you police or control this

material to keep it from getting out of hand.

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66

The aforementioned information was gained as a re-
sult of six personal interviews which were arranged with
representatives in industries engaged in the production
of articles for the home. Interviews were conducted with
the following people:

The home economist, and the color stylists for a
plastics producing company

A research consultant for a furniture producing
company

The home economist, her assistants and the indus-
trial designer for an appliance producing company

The designers for a small furniture producer

The manager and designer for a furniture producing
industry

Table VI shows the results of the interviews and the
contribution to the study which were made by the various
persons contacted. The research consultant was the most
valuable source of information for the investigator. He
saw real need for research in the area of texture or the
visual appearance of new materials to make them acceptable
for use in materiel for the home.

Executives were more concerned with the fear of
pirating of ideas by other industries and with the problem
of consumer acceptance.

In evaluating the findings of this study several
problem areas are indicated: (1) methodological problems,
(2) a lack of understanding of the concept of design, and

(3) a failure to understand the nature of research.

67

TABLE VI

RESULTS OF INTERVIEWS

1

 

 

 

 

 

 

 

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Research in progress
Research needed 1 l 2
University research not
helpful
University research helpful
Indicated need for research
on color 1 1 l 3
Indicated need for research
on shape 1 l
Indicated need for research
on texture .1. 1A 5; 3
Totals 2 4 3 9
Importance of consumer
preference 1 1 l 3
Importance of market research 1 l
Intuition and experience
Problem of technology and
engineering
Use consultant in design
Fear of pirating of ideas 1 2 3

Fear of stifling creativity
Requested further information

Indicated no interest in
study

Refer t9 other sources
Totals 2 2 4 8

*

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68

Methodological problems which were indicated related
to finding the individual in an industry who was best qual—
ified to give aid to the study. The success of the study
would be determined by the instrument reaching the proper
person. In some cases it was possible to secure the name
or names of persons who could make a contribution, and the
instrument was addressed accordingly. However, the instru—
ment did not always reach the intended individual. Personal
contacts have indicated that a_secretary had written the
reply to the instrument as a part of her obligation to screen
her employer's mail. The inquiry was discarded by the sec-
retary who did not realize the importance of the instrument
and thus the response did not include the information sought.

Obtaining the name of a qualified individual was not
possible in all cases. In seeking information from indus-
tries where a personal contact was not available the instru-
ment was addressed to the research division of the industry.
From the great variety of respondents to the instrument it
appears that the letter might have been passed from one per-
son to another in the industry in search of an answer. The
problem was most often interpreted by this group as one of
market research or of consumer research, regardless of the
fact that the instrument stated that this was not an objec—
tive of the study.

In evaluating the two techniques used, (1) the per-

sonal letter, and (2) the interview, the investigator

 

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69

considered the personal interview to be the more effective
method of obtaining the information. The personal inter-
view was more costly and more time consuming.

Interviews with representatives of industry required
tact and patience for best results. Designers and research—
ers wanted first to explain their ideas and projects, and
they wanted to discuss the problems that concerned them.
After this was accomplished the interviewer could probe for
information. It is interesting to note that the results
obtained from Instruments 1, II, and III were similar to
the interview in that the individuals were inclined to state
the problems that personally concerned them, rather than to
give serious thought to basic design research. The respond~
ents failed to see that basic research in the components of
design could aid in the solution of some of their problems.

A lack of understanding concerning the concept of
design was indicated by many respondents. This may be due
to a change in concept of design definition. The meaning
of basic design as interpreted in the university classroom
today, which was outlined in the instrument, is a much
broader interpretation of the terms than industry uses.
Several of the replies received point to this. The concept
of design as surface decoration was indicated. Most of the
respondents did not break design down into its components
of shape, color,and texture; those who made this distinc-

tion gave texture as the area needing research.

7O

Respondents who were most aware of research prob-
lems needed in the area of design were the science coordi-
nator for a society for testing and materials, and the re-
search consultant for the furniture company. Both of these
people were concerned with the visual appearance or texture
of new materials. The national sales manager for a furni-
ture company also saw a need for research in the visual ap-
pearance of new materials as well as research to develOp
these new materials to make them acceptable to the consumer.

Some designers and manufacturers felt that intui-
tion was the most valuable method of creating good design.
Others denied that intuition played any part in design cre-
ation. Neither group understood how basic design research
would be helpful.

Industry's failure to understand the nature of re-
search was also indicated and their fear of the pirating
of ideas is one of the most frequent answers which points
to this. Another reply which supports this was the expressed
fear that research would stifle creativity. Their expres-
sion of concern for a need to police the results of research
also points to a lack of understanding of research.

There was little evidence of any concern for the
design quality. The industries and designers contacted
felt that good design was not of great importance in mar-
keting a product. Several of those questioned stated that

industry has no conscience or feeling of social responsibility

 

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71

in producing good design. Of the replies received, only

one designer and one manufacturer expressed concern for

the responsibility of creating well designed articles, and
'by doing so attempt to raise the taste level of the consumer.

Closely related to the problem of producing design
of quality was the manufacturer's desire for keeping costs
at a low level. There was some evidence of a feeling that
good design costs more to produce, or that poorly designed
products would bring greater profit. Other respondents
felt that their company would be asked to finance a project
if they expressed a need for it.

The lack of knowledge of the attributes of design
on the part of buyers and/or sales personnel was of real
concern to some of the designers contacted. They felt that
the sales personnel were often responsible for the quality
of design that reaches the consumer. Perhaps more training
is needed for this group of people.

Only two of the individuals contacted felt that
the Common Market would have any influence on industries
concerned with materiel for interior design. One industrial
designer felt that competition from other countries might
be good. This designer suggested that industries from abroad
might nOw be in a position to "tool up" in sufficient capac-
ities to compete on a much greater scale than in the past.

Consumer preferences were of some concern to many

respondents who indicated that the quality of the design

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72

aftmeir products was the result of consumer demands. Just
Mutthis influence is exerted was not made clear to the
nwestigator. Apparently many designers and manufacturers
(fling to the belief that the consumer influence is signif-
itant. The investigator has had considerable experience
hxwprking with consumers in the selection of articles
flnrtheir homes. As a result of this practical experience
fins investigator would be inclined to agree with Eliot Noyes
\flk>considers consumer surveys to be a form of reassurance
fer an industry.

If the consumer has such great influence on the
Heterials produced, one might ask why there has not been
aigreater amount of research on furniture for our aging
pOpulation. In the small amount of research projects con-
ducted, the participants have included anthropologists,
sociologists, and psychologists. Designers have not par-
ticipated in this area of research which could offer some

guides to better furniture for everyone.

CHAPTER V
SUMMARY AND RECOMMENDATIONS

One of the objectives of this study was to investi-
gate current literature to determine where and to what ex-
tent research in basic design as related to interior design
has been conducted.

In attempting to achieve this objective, it became
apparent from publications that little basic design research
has been conducted which relates to interior design. Some
research has been done in the component of color. Little
of this research relates directly to interior design. Re-
search in the component of shape has been conducted in the
search for a comfortable chair and even this research has
not been applied to problems of interior design. A few
studies have been conducted in the component of texture.
The results of this study indicate to this investigator
that the need for research in texture has not been recog-
nized until recently.

In reviewing the literature it was evident that
some investigators in psychology, anthropology and sociol-
ogy are aware of a need for research in the design of fur-
nishings for the aging. The designer is also needed in

this research effort.

73

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74

The investigator found little published evidence
of research concerning the effect of one component on an—
other. Some evidence of this type of research was found
to have been undertaken by one university.

A second objective was to investigate the needs for
research in basic design as it relates to interior design.
The results of the study concerning this objective were
disappointing. The misunderstandings which seemed to pre-
vail even after terms were defined seemed to Spring from
the wrong person receiving the inquiry, not enough time to
give thought to the problem, or a "couldn't care less" at-
titude.

Those who did give thought to the problem and saw
its implications indicated that the area of color and tex-
ture needed to be researched. Other areas of research sug-
gested were related to synthetic materials and their visual
attributes, the best natural appearance of any raw material,
the best qualities of materials for human use (both pref-
erence and physical data are needed), color coding, func-
tional aspects of design, problems of design transferred
from board to production, definitive terminology for color
attributes,_psychological research on normal people, and
problems involved in obtaining good design in low cost prod-
ucts.

A few designers and manufacturers expressed their

concern over the quality of design produced and the lack

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75

of research in the components of design. However, none

of the respondents were willing and/or able to make a def-
inite statement as to what research projects should be con-
ducted.

Several of the men who were interviewed stated that
the quality of design produced was not of great concern to
manufacturers. They produced whatever they thought would
sell and expected the salesman to promote the articles.

A third objective attempted was to determine the
kinds of research programs in basic design research, as
related to interior design,which universities might develop
to meet the needs of industries concerned with interior de-
sign products.

The designers and manufacturers contacted were un-
willing or unable to make any suggestions for achieving
this objective. It was apparent that there was great mis-
understanding concerning the nature of research. The de-
signers and manufacturers did not understand that basic
research should be available to all. Research projects
that would be beneficial to their competitors were of no
interest to industry. Pirating of ideas was of great con-
cern to industry and they thought that the findings of re-
search could also be pirated by another company. Consumer
preferences were considered more important than basic de-
sign research in many industries while others feel that
research on consumer preferences produced no worthwhile

results.

 

 

 

 

 

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76

Developing an instrument in an attempt to learn
how to contact industry was not one of the stated objectives
of this study. However, some knowledge was gained in this
area. Interviews following a contact made by letter proved
to be the most valuable technique. Tact and patience were
required of the investigator and before any pertinent in-
formation could be sought the designer or manufacturer wanted
to discuss his problems in production of materials for in-
terior design. After this was accomplished the interviewer
could seek the information desired. The investigator learned
that questionnaires are unacceptable to industry and the
secretary is expected to discard this type of correspondence.
A personal letter is acceptable to representatives of an
industry and they stated that they feel obligated to answer
this kind of communication. However, it is evident that
industry does not always adhere to this policy.

Interviews and responses from designers and manu-
facturers indicated to the investigator that the value of
basic design research will have to be demonstrated to in-
dustries if they are to recognize the value of design re-
search. Evidence of this was gained through the interviews
with home economists and the display of results of research
in the talk given for the Electrical Women's Round Table
meeting.

Findings from basic design research will have to

be compiled in a brief and concise form if these findings

 

 

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77

are to be useful to industry. Representatives from indus-
try stated emphatically that they did not have the time
to read academic papers. The summary was most often read
to find out if the research was pertinent to their products.

Disseminating the results of research would pose
some problems. Several of the respondents indicated that
they were not completely satisfied with their present meth-
ods of creating good design in the articles produced by
their companies. Perhaps the designers for these companies
would be most receptive to the findings of research which
would aid them in their task.

Several respondents indicated that education for
sales personnel could contribute to the solution of the
problem of providing better designed articles for the con-

sumer. The publication of the Kroehler Report1

indicates
that the consumer is steadily becoming more aware of the
quality of design. Thus it might be assumed that the train-
ing of sales personnel needs to be intensified in the area
of understanding quality in design. It is interesting to

note that the positive suggestions for research came from

only four of the one hundred and forty-five people contacted.

Recommendations f0; Fugther Research
1. It is recommended that the interview technique

 

1David Richter (Director), "The New Consumer, Cau-
tious or Confident?," Kroehler Report II, 1963.

 

 

 

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78

should be utilized for any further study of the problems
involved in research on basic design, because this technique
gave the investigator more specific answers as well as a
better understanding of the problems of designers and manu-
facturers in this field.

2. Any further investigation similar to this study
should incorporate into its methods a visual example of
basic design research, because the results of the few stud-
ies carried on helped in clarifying the value of basic de-
sign research.

3. A study could be undertaken to define design
terms as they relate to the various areas of production in
industries concerned with materiel of interior design. This
could aid the designer in his problem of communicating with
others.

4. A great deal of color research has been conducted
by psychologists, psychophysicists, illuminating engineers,
and physicists; however, much research is needed in the
color preference area or in the visual area of color dis-
crimination. This need was expressed in the interviews by
the research consultant, the industrial designers and in
many of the responses to the letter.

S. The field of texture has remained virtually
without research. In this area innumerable avenues of ap-
proach are open to the investigator since the development
of new materials has presented problems relating to the

effect of texture on color.

 

 

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79

6. More research is needed on the component shape,
particularly to fulfill the needs of the aging and all age
levels including young children. One respondent was espec-
ially interested in research for furniture for the young
child.

7. The effect of one design component on another
has had little research. The interaction of all the design
components is of great importance since the three compete,
along with light in the visual world. The research consult—
ant and the science coordinator for a society for testing
materials were aware of the need for this research.

8. From the interviews conducted and the review -
of the literature the investigator is led to believe that
personnel involved in the designing and production of ma-
terials for interior design do not understand clearly the
relationship of research to design. Research might investi-
gate some of these concepts such as the interpretation of
research as related to the various areas of endeavor, the
relationship of the designer to the production staff, and
the many changes which seem to occur in the interim between
creation by the designer and its appearance after production.

If this study has raised questions in the minds of
a few peOple in the field of interior design, it has met
with some success. Perhaps the study can be likened to
dropping a pebble in the ocean. Eventually the waves may

reach the shore.

APPENDIX A
INSTRUMENT I
AND
REPLIES TO

INSTRUMENT I

 

 

 

 

 

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81

Instrument I

Dear Sir:

For some time I have been employed as a County Extension
Agent in Home Economics. During that time I have been most
interested in the problems of homemakers in Interior Design.

At present I am enrolled in the Masters program in Interior
Design at Michigan State University. I am studying under
Miss Mary Shipley, Associate Professor, Department of Tex-
tiles, Clothing and Related Arts, College of Home Economics.

We are attempting to find out what current research is being
done in the design area of Home Furnishings.

There are many studies being done in Consumer Research. We
are not including this area in our investigation. We are

interested in a different facet, that of basic design re-
searCho

Are you at present doing any research in your particular
field in the following areas:

1. Shape (space, line, volume, mass, etc.)
2. Color
3. Texture

Universities carry on research programs in these areas. We
would like to know if:

1. Studies conducted by universities in the afore-
mentioned areas could be useful to your company
and: -

2. What types of research subject matter would you
like to see investigated that could be carried
on under university conditions?

We will appreciate your help in this study. Any informa-
tion will be completely confidential. No names of firms
will be used in this study unless permission is granted.

If you are willing to grant permission to use your company
name, please indicate this.

Sincerely
(Mrs.) Mildred Chapel

County Extension Agent
Home Economics

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82

Replies to Instrument I
A-l

I am sorry but we would not be interested in the
studies you mentioned in your letter of June 13 such as
space, color, and texture to be conducted by Michigan State
University.

We feel that studies of this sort are most advan-
tageously carried on by individual private business organi-
zations, and are areas in which state support is unnecessary.

A—2

Please excuse our delay in answering your letter
of June 13. The questions which you pose are challenging,
and we wish to cooperate by providing you with the most
useful information possible.

Due to the unusual relationship that our company
enjoys with its designers, we find it somewhat difficult
to supply you with information about research work or needed
research in the areas of motivation, etc. without more spe-
cific knowledge of the intended use of the information that
we may forward to you.

If it would not be too inconvenient, would you mind
advising us what the ultimate use of the information is.

I will be looking forward to hearing from you.
A-3

We use as a consultant, .........., New York City,
who is an outstanding authority on color and texture.

She develops color combinations and textures for
carpets, casements, draperies, and upholstery that are par-
ticularly suitable for our fibers.

As a service to our customers, we submit many of
her ideas (actual samples) to them. They are free to re-
produce or interpret them as they see fit. Through ........
work (actual research, we feel), it helps us to spark in-
terest among our customers in develOping new color combina-
tions and textures in home furnishing fabrics and carpets.

At present, we feel ........... is meeting our needs.
I wonder if it wouldn't be well for you to contact manufac-
turers of carpets, draperies, and casements, even for types

vs.
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83

of research in the areas you mentioned. I should think
they would feel that the University could perform a val—

uable service through the type of research it is able to
conduct.

Do feel free to write me if you have questions.

A-4

Your letter of June 13 has been referred to my at-
tention, since one of my major responsibilities in the Plas-
tics Sales Department is the development of Markets for the
use of plastic in housewares and home furnishings.

Textiles do not fall in the category of my respon-
sibilities, therefor, I am sending your letter to .........
Merchandising Manager of our Fabric Division in the New
York Sales Office. I hope that he will be able to supply
you with the information per your letter.

I thought you might be interested in some of the
color forecasting we do in the housewares field for plastic
housewares.

Our Color Styling Service in Plastics has been in
existence for some twelve years and has been very success-
ful in influencing and forecasting color for the housewares
industry. I hope ............ can be of assistance to you
and please feel free to contact us at any time.

A-S

Your third paragraph was of keen interest to me,
and I am not being facetious, but to answer your questions
would involve quite a long dissertation. May I extend to
you and .....3...... a very cordial invitation to come up
to 3..; have lunch with me and spend some time talking about
color. We are always very interested in assisting Michigan
State in any way we can-~personally, I am extremely inter-
ested as I took my Masters from Michigan State. Why not
look over your schedule and drop me a line when it might
be convenient for both of you to come up for a visit.

APPENDIX B
INSTRUMENT II
AND

REPLIES

85

Instrument 11
Dear Sir:

For some time I have been employed as a County Ex-
tension Agent in Home Economics. During that time I have
been most interested in the problems of homemakers in In-
terior Design.

At present I am enrolled in the Masters program in
Interior Design at Michigan State University. I am study-
ing under Miss Mary Shipley, Associate Professor, Depart-
ment of Textiles, Clothing and Related Arts, College of
Home Economics.

We are making a survey of the current research being
done in basic design as it relates to interior design.
There are many studies being done in consumer research.
We are not including this area in our investigation. We
are interested in a different facet, that of basic design
research.

We feel that universities could carry on objective
research in this area which could benefit all industries
producing goods for interior design. The only way univer-
sities could institute such design research programs is
through the interest and guidance from these manufacturers
and designers concerned.

In order to institute such a program, we must know
the kind of research that has been done, or is being done
by industries and their designers. Thus, we come to you
for information concerning this matter.

The following areas of research are those which
we feel will give us answers to our survey.

1. Space (shape, line, volume, mass, as related
to fabrication).

2. Color (hue, value, saturation).

3. Texture (light reflection, material structure,
reaction to handling, reaction to the tactile
sense, kinesthetic sense).

4. Research on the reaction of these components
on one another.

Using these four components as a guide, could you
please take time from your busy schedule to send us a reply
concerning the following questions?

86

Instrument II continued

If universities carry on research programs in these
four areas:

1. Which studies in the aforementioned areas could
be useful to you or your company, and in what
way would they be useful?

2. Are there other areas of research concerning
these components of design which you feel could
be carried on best under university conditions?

We are not interested in end product design, but in
research which would lessen the time lapse between creation
and production so that a well designed end product may reach
the consumer rapidly enough to meet the challenge of chang-
ing world competition. Even though we are not interested
in end product design, we feel that research in basic de-
sign would contribute to all industries concerned with prod-
ucts for interior design.

We will appreciate your help in this study. Any
information will be kept completely confidential. No names
of firms or individuals will be used in this study unless
permission is granted. If you are willing to grant permis-
sion to use your company name, please so indicate.

Sincerely

(Mrs.) Mildred Chapel
County Extension Agent
Home Economics

87

Replies to Instrument II

B-l

I reviewed your last letter with some of our people
who I felt were in a position to advise. They feel that
the type of information which you are seeking is beyond
the scope of any activities which we do or the people whom
we reach in our marketing activities. They feel that your
best contacts would be leading industrial designers, archi-
tects, etc. They felt that contact with the national head-
quarters of A.I.D. might be helpful to you .......... as I
mentioned before, might be one to contact from the stand-
point of color.

Your letter is well done and should bring results.

I do feel your proposed research is most worthwhile,
and I regret I cannot be more helpful to you.

B—Z

Your second form letter came some weeks ago. I
must admit that I was remiss in not settling down to think-
ing this letter out sooner. I did some thinking on it my-
self; and when .......... was up here last week, we further
discussed your letter.

I think that both ........... and myself are still
concerned about the cooperation and support you might get
from some industry on this research project. I personally
feel you still have not clearly stated what you are propos-
ing to do and how the results of this research may be of
benefit to industry. Unless this is clearly stated, I be-
lieve your cooperation from industry will be held to a min-
inmmh I also wonder exactly what the interior designer
of note would think, how he would react to this project
and what suggestions he might make before you further em-
bark on the undertaking.

In reference to the third paragraph of your letter,
I did not feel that you delineated specifically what you
tmean by basic design in relation to interior design. Maybe
a quick example of what you mean by basic design research
at the end of this paragraph would clear up one's first
impression. I would make this example very down to earth.
It might even be an addendum that you add to the letter.

I also feel the next to the last paragraph in your
letter should come at the beginning of the letter as it more

88

quickly sets the stage. The closing sentence--—"If you are
willing to grant permission to use your company name, please
so indicate." I would say get the company or the interior
designer interested in the project, and then later talk to
him about using his name or the company name. But industry
scares very easily when its name is to be used. You would
be surprised at the red tape and policies set up to guide

us when we participate in any public relations and our name
is to be quoted.

Mrs. Chapel, I do not want to seem negative at this
point, but I recognize such a project could be long, drawn
out and fraught with many uncooperative minds. If we can
be of any further assistance to you, please feel free to
keep in touch with us.

.5‘u

APPENDIX C
INSTRUMENT III
AND

REPLIES

9O

Instrument III
Dear Sir:

For some time I have been employed as a County Ex—
tension Agent in Home Economics. During that time I have
been most interested in the problems of homemakers in In-
terior Design.

At present I am enrolled in the Masters program in
Interior Design at Michigan State University. I am studying
under Miss Mary Shipley, Associate Professor, Department of
Textiles, Clothing, and Related Arts, College of Home Eco-
nomics.

We are making a survey of the current research be-
ing done in basic design as it relates to interior design.
There are many studies being done in consumer research. We
are not including this area in our investigation. We are
interested in a different facet, that of basic design re-
search.

We feel that universities could carry on objective
research in this area which could benefit all industries
producing goods for interior design. The only way univer-
sities could institute such design research programs is
through the interest and guidance from these manufacturers
and designers concerned.

In order to institute such a program, we must know
the kind of research that has been done, or is being done
by industries and their designers. Thus, we come to you
for information concerning this matter.

The following areas of research are those which we
feel will give us answers to our survey:

1. Space (shape, line, volume, mass, as related
to fabrication).

2. Color (hue, value, saturation).

3. Texture (light reflection, material structure,
reaction to handling, reaction to the tactile
sense, kinesthetic sense).

4. Research on the reaction of these components
on one another.

Using these four components as a guide, could you
please take time from your busy schedule to send us a re-
ply concerning the following questions?

91
Instrument III continued

If universities carry on research programs in these
four areas:

1. Which studies in the aforementioned areas could
be useful to you or your company, and in what
way would they be useful?

2. Are there other areas or research concerning
these components of design which you feel could
be carried on best under university conditions?

We are not interested in end product design, but
in research which would lessen the time lapse between crea-
tion and production so that a well designed end product
may reach the consumer rapidly enough to meet the challenge
of changing world competition. Even though we are not in-
terested in end product design, we feel that research in
basic design would contribute to all industries concerned
with products for interior design.

Sincerely

(Mrs.) Mildred Chapel
County Extension Agent
Home Economics

92

Replies to Instrument III

C-l

I write in reply to your letter of November 8th.
I regret I am unable to review this matter with you at this
time. I receive so many requests of this nature that it
is terribly difficult for me to comply with all of them.
I occasionally can do this when acting in an advisory ca-
pacity but otherwise owing to my heavy business and travel
schedule, it is virtually impossible.

My regrets again that I must say no.
C-2

Thank you for your very interesting letter of No-
vember 9; however, I do not agree with your basic premise
for the research you have outlined.

I feel that gaining information in such vague areas
is of little value. All good product and furniture designs
stem from a need, real or imagined, and must relate to its
environment. It is also directly related to the technolog-
ical development of any given time.

I feel much more should be done to educate the pub-
lic in what design is all about, to overcome some of the
conditioned thinking that has been put off by many manufac-
turers--that of planned obsolescence, of fads and applied-
chrome type of designing.

If the demand from the public is there, then manu-
facturers will be quick to pick it up. Most manufacturers
are reluctant to change from established cliches in what
the public wants.

APPENDIX D
INSTRUMENT IV
AND

REPLIES

94

Instrument IV

Dear Sir:

We are trying to find out from designers, manufac-
turers, and others, in the fields related to interior de-
sign, what the needs are for research which could be con-

ducted objectively and efficiently under university condi-
tions.

We are interested primarily in basic research in
the design elements of shape (form), color, and texture.

We realize there is great concern about consumer
education and consumer market research. We are doing all
that we can at this time to further consumer education. We
feel that there are many others more capable than we are
of conducting market research. However, if you have ideas
on either of these types of research, we would be glad to
take them into consideration.

The type of research which we are interested in
would pg§_come up with a formula, or stifle creative design.
However, there are many things which could be researched
which could be helpful in production, after the creative
design is finalized on a two-dimensional drawing.

Basic research could help put this design on the
market more quickly, and accurately according to the design-
er's plans. Surely a body of knowledge could be assembled
that could be useful to many of those who are interested
in the field of design.

Since a great deal of time and effort are expended
in university research programs, we feel that these research
problems should be designed to make worthwhile contributions
to the field of interior design.‘

Can you give us some idea of the type of research
that would be useful to you or your company?

I am enclosing an outline of the problem I am study-
ing. Perhaps it will help explain the nature of the study.

I will appreciate your help in this matter.

Sincerely

(Mrs.) Mildred Chapel

95

PROBLEM OUTLINE
Master's Degree

DMMRTMENT: Textiles, Clothing and Related Arts

ADVISOR: Mary L. Shipley
ShmENT: Mildred Chapel
CREDITS: 6

TMUATIVE TITLE: A Survey of Current Research in Basic De-
sign' as Related to Interior Design.

RETIFICATION: Academic personnel concerned with interior
design need to know the extent to which basic de-
sign research as related to interior design is be-
ing carried on either in other institutions or by

the ipdustries concerned with interior design prod-
ucts.

Before research in basic design as related to
interior design can be instituted in a University
the University must ascertain not only the kind
of research being done by others, but, more impor-
tant, the exact needs in research of those indus-
tries whose products are related to interior design.

Basic design research, out of necessity, will
play an ever increasingly important role in the
economy of those industries concerned with interior
design if they are to gompete in the rapidly chang-
ing world competition. If industries concerned
with interior design can be alerted to this coming
need in time to support basic design research as
they have supported research in production,4 this

is adequate justification for an investigation of
3115 nature a

One of the major problems, not often yet re-
alized by the majority of industry related to in-
terior design is the outmoded, intuitive methods
utilized in making decisions on basic design com—
ponents as they are related to the various products.
It is here that the University could make the great-
est contribution to research in basic design as re-

lated to interior design if a starting place can
be found.

ASSUMPTIONS: I. There is need for research in basic de-

sign which can be utilized in the field
of interior design.

OBJECTIVES:

PROCEDURE:

II.

I.

II.

III.

I.

II.

III.

IV.

96

Industry related to interior design could
give guidance to universities with respect
to the type and extent of basic design re-
search needed.

To investigate current literature to deter—
mine where and to what extent basic design

research as related to interior design has

been conducted.

To investigate the needs for research in
basic design as it relates to interior de-
sign.

To try to determine the kinds of research
programs in basic design as related to in-
terior design which universities might de-
velop to meet the needs of those industries
concerned with interior design products.

Research Design

A. For this exploratory study a survey of
literature will be made to determine
the kinds of research, if any, that have
been carried on in basic design as re-
lated to interior design.

B. Industries will be contacted to deter-
mine the needs for a research program

in basic design as related to interior
design.

Methods

A. Review of the literature

8. Contact designers and manufacturers by
personal letter. Follow up letters will
be sent when necessary.

C. Personal interviews with designers and
manufacturers whenever possible.

Data Collection

Data will be compiled from:

A. Literature

B. Designers

C. Manufacturers and Manufacturers' Asso-
ciations

Analysis of Data

A. A descriptive content analysis of the
data will be made.

B. Recommendations for further study.

97

LITERATURE INVESTIGATION:

l The 90 articles investigated to date for information as
to on going research in basic design were gleaned from:
1. The Rpaders Guide to Ppriodical Literatppp.

2 o The Inggfi tr; 3; Ar §§ Izlggzo

3. New York Times Indeg.

4. The Ar; Indgx.

S. The Applied Science ppd Tephnology Ipdex.
6. Business and Pepiogicplp Index.

7. Tiples of Complptgd Thpsis in Hpmp Ecpnomicp ppd Re—
d Fields in s an Univ s't s of he U ited
Spapps.
2,3 and 4

These footnotes are not literature cited but are ar-
ticles found which support the problem justification,
but are concerned with only one phase of interior
design, textiles.

2 Stevens, R.T., "Manufacturers Lag in Scientific Research,"

3 Larsen, Jack Lenor, "Fabrics in a New Dimension," Ipdus-
ggip;_2p§;gp, Vol. 8, No. 10, October, 1961, p. 79.

4 uribe, Rodrige, "I.F.C. and Six Banks Reach Loan Pact,"
N93 ngp Timpg, August 11, 1962, p. 21.

'Research in basic design as related to interior design
.refers to research in the components of design, shape, color
and texture and the attributes of these three components.

98

Replies to Instrument IV

D-l

My son—in—law was greatly interested in your project.
He suggested that you write to ........... When you write,
tell him you met the mother of ........... wife, and also
explain your difficulty. He is certain you will receive
help from the Company. As I told you ............ has
coordinated the decoration at the Ford Museum at Dearborn.

He also suggested you contact ............. who do
all the coordinating at Williamsburg and fabricate the
popular Williamsburg fabrics. He also suggested ..........
who do wonderful things with silk.

D—2

Thank you for sending the outline of your research
project. I have read it briefly but haven't had time to
give it much thought. It does require thought. Perhaps
more than the average business person is willing to give.

D-3

Our company manufactures all types and styles of car—
pet to be sold nationally. Maximum consumer acceptance of
each styling effort is our primary concern.

Toward accomplishing this purpose, we continually
study regional as well as national home furnishing style
trends as they are reflected in our sales and the observa-
tions of our regional representatives. Further, we closely
observe the style and design developments and performance
in associated home products such as, draperies, paints,
etc. In this effort my own responsibility rests in close
association with such organizations as the National Home
Fashions League, and associated groups concerned not only
with current trends but forecasting new marketing demands.

Intuitive methods as described in your outline play
a very minor part in determining our styling direction.
Experience in the field, inspiration and talent play the
greater part in meeting the styling challenges of a diver-
sified, demanding, and always changing, public taste.

In our library we have available for our use the whole
designer experience in textile development; and through our
field contacts, we keep informed of present trends and re-
lated creative efforts.

99

A study of basic design elements, while of academic
interest, would not be as significant for us as, say, an
investigation into the motivation behind consumer acceptance
of a given product.

D-4

This is in reply to your letter of January 30 describ-
ing your research project for your masters degree. This
Society has several projects which relate to the subject
you have selected. In particular, two technical committees
cover parts of this area, Committee E-12 on Appearance of
Materials has sponsored two symposia as follows:

Visual Aids for Standardizing and Communicating Prod-
uct Appearance STP 258

Visual Appearance, A Five-Attribute System of Describ-
ing STP 297

Also, Committee E-18 on Sensory Evaluation of Mate—
rials and Products is attempting to standardize measurements
involving the senses and in particular relating these sen-
sory evaluations to instrumental measurements. The commit-
tee has endeavored to collect a bibliography of papers re-
lating sensory evaluation to instrumental measurement but
‘with little success. This is an area which needs research
efforts.

D-5

After having presented your problem to both of our
stylists, I am sorry to advise you that neither of them
seemed to understand what you are trying to find out.

For what it is worth, I am enclosing the reply of one
of our stylists; the other one had no comment.

I'm sorry that your request for help from us hasn't
been more productive but from my own experience, I know
that stylists and other creative people find it very dif-
ficult to put their thoughts in words.

I have thought about this some and feel that I prob-
ably don't get the point.

If she means research from the standpoint of whether
square motifs are more popular than round ones, perhaps this
would be ingeppsping to know. But no more than interesting
since there are times when the designer feels the need to
use one or the other, regardless of popularity.

 

 

I
'3

 

i

h

 

100

Other kinds of research such as documentary motifs
would be of little value since I feel that the designer
should seek and find his own inspiration. We are naturally
guided in this field by past performance of a style (i.e.
Early American, etc.,) and are therefore able to make an
educated guess as to future designing. If we could be told
that Russian Provincial will be highly desirable from a

sales potential point of view in spring of 1965, this would
be helpful!

D-G

I can only give you some ideas and opinions which I hOpe
might be useful to you.

#1 In general, I think the "assumptions" are valid and the
"objectives" follow logically.

#2 In relation only to our upholstered furniture business:

A. Little "basic design" research is done by the indus-
try. Lots of research has been done and is being
done on materials and methods. How much is published,
I really don't know. A good lead on this question
might be the addition of upholstery magazine.

B. One thing we can't get away from in our industry is
the basic shape of human anatomy. There has been
basic research on this, research on average dimensions,
shapes, and proportions of the human frame. Whitney
Publications, who publish "Interiors" magazine, pub-
lished a book for designers giving the results of
this research.

C. Much pepppicpl research has been done on textile de-
signs, fibers, and mill methods. Basip design research

is being done by ......... and possibly others, on
non-woven fabrics.

On the question of what research might be helpful to our
industry, here are some ideas:

#1 Given the present market of resilient materials, present
methods and technology, what basic design improvements are
possible to improve appearance, comfort, or value?

#2 Given desirable basic design improvements what specifi-
cations would be required of new materials to make the de-
signs feasible?

 

 

.1
..l

 

  

 

101

#3 Does the consumer feel it important that her decorative
home furnishings reflect the architectural flavor of her
home? Put another way, - will the consumer accept and de-
sire basic new designs that are not reminiscent of older
period designs? Still another way, - does consumer accept-
ance of radical new contemporary designs follow only after
their use in public institutions?

#4 How valid is our industry's assumption that the consumer
has pride of ownership in her upholstered furn'ture and wants
high quality and durability with its attendant high prices?
What rate of obsolescence in upholstered furniture will she
accept? In upholstery textiles?

D-7

The information you requested in your letter of
February 8, pertains to market research and your corres-
pondence is therefore being forwarded to ........... Market-
ing Research Manager.

D-8

Matters pertaining to color and design are entirely
in the hands of the ............ I suggest you direct your
letter to ............ General Manager.

All our other Products are in the capital goods
field where design is a problem in engineering rather than
'visual effect.

D-9

Forgive my ignorance, but your paper seemed somewhat
abstract to me and did not stress specific information that
was desired.

Being a manufacturer I am naturally concerned with
making products that sell. Many times these items insult
my personal appreciation of them, but this does not stop
:me from trying to make a profit.

I agree that design plays an important part in our
Ibusiness. However, there are many factors that influence
the finished product. Cost of manufacture and saleability
or public acceptance are only two to name some.

For whatever value it is worth I shall be happy to
try to answer some questions. If this is of interest to
'you would you help me by listing some specific questions
‘you would like answered? Upon receipt of this I shall go
to work.

102

D-IO

We have your recent letter following up a previous
inquiry on a design problem. We don't seem to be able to
locate your original letter.

Our organization is a technical and scientific so-
ciety of textile chemists and we do not get into the area
of design. There are several associations in this field
and you might address an inquiry to them. Among them are

I am sure that these organizations have assembled
a substantial body of information which could be used as a
basis for advanced degree programs.

D-ll

With reference to your letter regarding a "Survey
of Current Research in Basic Design," we naturally are in-
terested in the consumer preferences of the various home
furnishing categories which I would classify as Contemporary,
Early American, etc. Since we are a prime producer of molded
dinnerware, we naturally must comply with consumer desires
within the home furnishing industry-~the preferences and
trends in color and interior design.

Thereforejconsumer research as to the percentage
popularities in the various types of interior designs, would
be of great interest to our company.

0-12

We have been searching our files to see if we could
locate some information that would be helpful to you in
the development of your outline on the current research
in basic design. Unfortunately, the work we do is of a
highly confidential nature.

Perhaps of not too direct help to you is a copy of
a talk I recently gave entitled, "Marketing Research Behind
......... the Future." You will notice reference in this
talk to the fact that we have projects outlined in the styl-
ing research area-~this includes both exterior and interior
design of future cars.

D-13
Thank you for your interesting letter in reference to prod-

'uct.design. I could say, as an advertising and marketing
Inan, I think you have a good point. The comments following

103

are purely personal ones from my own experience, not speak-
ing as a production man, but speaking from a point of view
of marketing and advertising.

In the carpet industry, we have a very interesting problem
as far as design is concerned. First, there are very def-
inite geographical preferences for design and color. As

an example, we know that in the Midwest tightly packed loop
pile constructions are in demand. Eastern metropolitan
areas prefer deep plush cut pile fabrics. Pittsburgh, Bos-
ton and Baltimore metropolitan areas like Burgundy. (You
can't give this color away in other areas of the country.)
On the West Coast, shaggy casual type constructions are
preferred. All of this information is not based on research,
Ibut general observation of sales records and field trips.
Concrete research certainly would be helpful.

I have always had the feeling that, like other carpet manu—
facturers, we have too many designs in their line. We make
56 different patterns, textures or qualities for residential
use. Each of these 56 are made in from 10 to 23 colors.

I have often wondered if we might not be more successful,
if we researched pattern and texture preferences, found the
‘best sellers, or the most preferred, and then offered them
in a range of 60 colors each. From Carpet Institute re-
search, we have found in a survey of 28,000 families, color
‘was twice as important as all other factors determining the
consumer selection of carpet.

Here are some questions I think your research could effec-
tively help answer.

1 — Geographical design preference. Cause. Can these pref-
erences be changed?

2 - Color preference? Would a manufacturer be better with
a few good basic designs in a range of 50 to 60 colors
rather than 100 designs available in only a few colors?

3 - How long does it take for design preferences to change?
What are the most important influences in the change?

4 - An effective way to establish research on design pref-
erences.

As I said, these are all things that have crossed my mind
from time to time. Perhaps they will be of no help to you,
but I thought you would like to know some of the problems
in the manufacturing and marketing of carpet.

If we can help you further, please do not hesitate to write.

104

D-14

Thank you for your letter and your "Problem Outline."
I think your program is a most interesting one and I have
carefully thought about it to see whether I could come up
with any additional suggestions.

I am afraid that there is nothing I can add to this
since from my point of view the program as you have outlined
it is a most well planned one.

Should you be in New Yerk on one of your trips, I
would be delighted to meet with you and we could then fur—
ther discuss the program.

D—15

Your letter addressed to our client The National
Committee for Effective Design Legislation was received.

I am very sorry that this organization, which seeks
new legislation protecting designs, does not do the kind
of work which would furnish the basis for any helpful reply
to you.

We wish you the best success in your research en-
deavor.

D-16

I am the chairman of the Color Committee and as
such author a yearly report on "Color Trends" which is pub-
lished by the Inter-Society Cdlor Council. (Enclosed is
a copy of last year's report.) I will try to get you started
in the enormous job you have undertaken of learning about
what is now being done in the field of prognostication of
color trends. Write to ............ for list of members
of the .............. and general literature about color
that they publish.

There are several experts in this field. Among them
...-0.0.0.0000, .....OOOOOOOO, ......OOOOOOOO, etc. etc.
Also the design staffs of the automobile companies keep
records of public preference of auto colors. Write to their
publicity departments for information.

Also the paint and printing ink companies such as
......OOOOO, .....OOOOOOOO, etCo, etc. have literature on
color trends.

105

You might also write to the people whom I addressed
as on the blue tissue copies sent herewith.

I think the above will get you started. You will
find that Design Prognostication is a complex and crowded
field.

D-17

I have read your letter and the enclosed program
schedule very carefully. I agree with you that at the pres-
ent time there are many firms allied to this industry which
do a fine job of researching the market with its clients
in mind. This type of research for you would be impractical.

Your second suggestion concerned consumer education.
To be perfectly honest, your remarks with regard to this
topic were very confusing. You speak of educating the con-
sumer by doing research for us which in turn you intend to
disseminate to the consumer. Any research for a company
such as ours would be of no use to the consumer. The only
type of research which a company such as ............ has
any use for is done within the company ............ is in-
terested in knowing what the customer wants .......... period
of design, colors, and type of design. This information is
easily attainable. By using our own sales figures, we can
get an accurate picture of what is popular with the consumer.
For an outside party to do this by any other means would be
impractical and take much too long for the research to be
of any use.

While speaking of consumer education, you also men-
tion design. Their relation to each other is, of course,
quite important, but you seem to feel we have some infor-
Amation about design which we can give the consumer. As
far as designing for our industry is concerned, this in-
volves answers we could give you, and not any which you
could give us. If, for example, you were to conduct an
investigation as to the type of designs which are suitable
for use by those in the decorating field, or contact design
buyers in textile firms asking for the technical require-
ments involved, i.e. size of design, repeat, method or pres-
entation etc. this would be worthwhile. However, such an
investigation would benefit the art student primarily (not
the consumer) and only secondarily aid the textile firm
as it would save time for our Art Department who have to
translate accepted designs according to the requirements
for textiles for upholstery and drapery.

106

I feel that you are tackling your problem from the
wrong angle, and were you to consider my suggestions and
try to go at the problem from the above viewpoint, ........
would be only too happy to provide you with the information
you would need. And I am sure that other companies such
as ours, though their needs would undoubtedly be the same
as ours, would be willing to assist.

D-18

I believe that I can understand and appreciate your effort,
having been for a number of years engaged as an instructor
in Industrial Design and then heading up two art schools,
with Industrial Design included in their curricula.

Leaving art education and relating with industry (furniture)
was in itself an experience, calling for considerable ad-
justment and a complete revision of my previous thinking
and rather glib conclusions relative to industry's respon-
sibility in consumer education and researched product de-
've10pment. The transition was made, today I remember my
earlier attitude and also am well acquainted with the prob-
lems and requirements of designing for production, produc-
tion management and sales. So how can I help you?

The ramifications of your subject are considerable and I
feel, from my viewpoint, so involved that I could not help-
fully treat with it here. The letter would become a thesis
in itself, tedious to read and time consuming to prepare,
so I am suggesting, if convenient, as you provide in your
outline under II c, an opportunity to talk the matter over.

If this is of interest to you please advise and we can ar-
{range a time. I will be away from the office until July
15th.

0-19

Since receiving your letter I have had the oppor-
tunity to talk with our Director of Product Styling and
Design to see what suggestions he might have on the needs
for interior design research which could be conducted under
university conditions.

He reports that, while he is in sympathy with your
‘undertaking, it would be difficult to suggest any areas
for pursuit, partly because of the nature of our products,
:but also because of such a project's limitations of money --
unless grants were received from firms interested in interior
design. Though we are of course speaking hypothetically,

107

if this were proposed, .......... might well consider it
more beneficial to continue with its own independent re-
search, rather than co-sponsor research of the type you
outline. In other words, we don't want te be guilty of
putting our mouth where our money isn't.

D-ZO

My own personal reaction is that elements of shape,
color, and texture in design of home furnishings is so much
a matter of individual taste that it would be difficult to
"freeze" it into any sort of form that could be designated
as basic design. I am sure that all manufacturers of fur-
niture and other home furnishings products wish to enjoy
complete creative freedom in the marketing of their prod—
uct, and customer response will shape the trends of what
remains popular in the market.

0-21

I am sorry for the delaying reply to your letter of Febru-
ary 13th. This has been caused by the fact that I consid-
ered your letter important enough to think about and I
haven't had time to think.

The practicing designer's lack of study is reason why yours
is a good idea for research in the schools.

I have thought only of the following three projects:

1. The aesthetics of Texture is an unexplored field for
the designer.

2. The development of design for landscaping the home, is
quite underdeveloped in the United States.

3. There is room for more study and research on the storage
of clothes in the American home.

D-22

Before starting on any design work, whether basic or other-
wise, we want to know the characteristics of the people -
the families for whom we are designing. Some models of

the same product have to be designed for one type of family,
other models for other types. And different products that
we manufacture are purchased by different types of families.
So our research must develop information as to the charac-
teristics of the families that represent the principal mar-
ket for each of our products. With such knowledge in hand
we can then design our products to fit the needs of those
families.

108

Speaking of needs, we think continuing research is needed
to ascertain consumers' wants and lacks - what they would
like to be able to do that they cannot do with present equip-
ment, what they are doing now that they would prefer not
to have to do if something could be designed to do it for
them, and what they are doing now that they would like to
be able to do better. Answers to these questions, plus
information on consumers' pet peeves as to present designs
of products, whatever they may be, can direct the efforts
of both our engineers and designers in giving people what
they want rather than what we think they should want.

Naturally we check the designs our Industrial Designers
produce for consumer acceptance - they want this as much
as do our Marketing people who have to sell the products
they design to the consuming public. Many changes have
been made, and will continue to be made in our product de—
signs because Mrs. Consumer has found shortcomings in those
designs. In conducting this type of research, usually we
use full-size models rather than scale models, pictures or
drawings. The closer we can get to realism, the more ac-
curate is evaluation of the design that can be made by the
consumr 0

These are the principal kinds of research that we as manu-
facturers of major appliances are interested in from a de-
sign standpoint. Anything that universities can do in de-
'veloping information on the lacks and wants of various seg-
ments of our population certainly would be helpful to all
manufacturers in varying degrees.

D—23

Your letter to ........... of July 17 has been read
and discussed with real interest. Because of his tight
schedule, he has asked that I send you an answer.

Your master study is an interesting and an ambitious
one-if done well it could very well contribute to a body
of knowledge that could be quite functional. We would there-
fore answer in the affirmative relating to your question
of whether or not there is a need for this research. I
should further say that I should think that a good part
of this can be conducted under university conditions.

If you will allow me I should like to state that
as designers both of interiors and of product, we are in-
'volved with creating good elements of shape, form, color
and texture. To do this we first of all must be well trained
as designers, and must acquire as much information as pos-
sible related to consumers needs and understandings. We

109

must of necessity start with what people want today, and
hope that we may carefully guide them into buying and ap-
preciating tastes that are just a little beyond them. This
is the way we make progress. We do need therefore, as much
material as possible related to the likes and dislikes of
people in the existing environment, a knowledge of their
choices in terms of color, texture and materials, and lastly
what other influences are affecting their choices. This
last point has many ramifications involving itself in psy-
chological factors, status symbols, etc.

To be a little more specific, we in the appliance
industry as designers would appreciate additional informa-
tion related to the dining habits, types of kitchens desired,
and the entertaining activities engaged in. As you know,
we are also involved in the analysis and design of Home
Laundry equipment and its environment.

In closing I should say your problem outlined if
followed should give you the answers you are looking for.
Shelter magazines will offer your information directly re-
lated to the many factors you wish to obtain.

D-24

Very briefly our point of view in regard to basic research
in design consists of the opinion that basic training at

the university level would be of greater value to industry
than research.

By basic training I would refer to teaching of knowledge
of the past and of the present in all of the art forms and
the sciences and the academic areas. Along with this is
the need for training for the basic skills in scientific
thinking, laboratory procedures, apparatus manipulation,
the experimental approach, curiosity about the world and
nature and people and things, a sense of dedication, the
ability to put into concrete form abstract ideas and sug-
gestions of ideas through organized thinking and manual
skills (drafting, modeling, painting, etc.) etc.

I realize that what you are asking for is a design subject
in which a university can conduct research, but I can give
none. I strongly feel that the "research" approach will
lead to a worse type of academism than the nineteenth cen-
tury ever knew. If your university can train an individual
in the manner described above, taking as a starting point
intelligence and proper attitude, such individuals will be
‘well equipped to solve industry's design problems and the
‘university will have fulfilled its proper function and aided
industry and the community as well.

110

0-25

I find it difficult to respond in a constructive manner
to the problem you pose. Partly I think this is due to

a felt need I have for the opportunity to ask questions
about the project as preparation for a response to it.
Partly too, I think it is difficult for me to respond
because I am not a designer and, therefore, don't really
understand the problems that are suggested when one talks
about basic design in the components of shape, color, and
texture.

I tested my response in this connection by asking one of
the men I work with to comment on your letter as well.
His reaction was pretty much the same as mine.

With this in mind it seems to me that I would like to sug-
gest that if we are to be of any help at all (and I'm not
so sure, seriously, that we will be of much help) we prob—
ably would have to start by having a conversation together
so that we can each have a fuller understanding of the prob-
lem and perhaps we can trigger each other into some con—
structive work.

If you feel this is a worthwhile suggestion, we probably
can set a mutually convenient time and I can get one or
two of the other men here to talk with you as well in an
effort to be of help.

APPENDIX E
INSTRUMENT V
AND

REPLIES

Dear Miss

112

Instrument V

January 24, 1964

We are trying to find out from designers, manufac-
turers and others in the fields related to interior design,
'what the needs are for research which could be conducted
objectively and efficiently under university conditions.

Would you take time to answer some specific ques-
tions concerning the problem under investigation?

1.

2.

3.

4.

5.

Is there a need for research in basic design:
shape, color, texture?

Could a body of knowledge in this area be com-
piled that would be useful to designers and
manufacturers of furnishings for the home?

Would you consider that research in texture
and its effect on color change, would be use-
ful to industries in this field?

Do you feel that the Common Market, with the
availability of well designed products from
other countries, may force industries in the
United States to up—grade the design quality
of their products?

Could research in basic design aid our indus-
tries in meeting this competition?

I will appreciate any help you can give me on this

problem.

Sincerely

Mildred Chapel

113

Replies to Instrument V
E—l

I discussed your specific questions with the former head
of our Industrial Design Division. The following answers
reflect some of this thinking:

1. SHAPE: It is hard to see what bagig research could be
done on shape since it must be related to the product.

COLOR: much basic research has been done on color and
it would seem that any further work would be in apply-
ing this basic research to a specific problem.

TEXTURE: Basic research in texture might be of value.
2. Possibly in study of texture.

3. Yes, if it is done soon, as use of texture is expanding
all the time.

4. The effect of designs from other countries is very lim-
ited. The well designed, imported merchandise is ex-
tremely expensive and limited in quantity because of
limited production facilities abroad. The effect has
been chiefly in making less expensive copies, not in
upgrading U.S. design.

5. No, because there is not much competition.

114

Instrument V

January 24, 1964

Dear Sir:

I appreciated receiving your reply with suggestions

concerning my graduate study problem design. Would you
take time once again to answer some Specific questions con-
cerning the study?

1.

2.

6.

Do you feel that there is a need for research in basic
design components: shape, color, texture?

Could a body of knowledge in this area be compiled that
would be useful to designers and manufacturers of fur-
nishings for the home?

Several studies have been done which show that the color
change, due to the variation in pile height, can be
measured, could be tabulated and perhaps predicted in
advance. Would such information be useful to designers
and manufacturers?

Would you consider that further research in texture,-
and its effect on color change, would be useful to in-
dustries in this field?

My experience in teaching homemakers about the design
aspect of articles for the home, indicates that consumers
do not make specific demands for the poorly designed
products on the market. Many of these homemakers have
never seen a well-designed contemporary piece of furni-
ture. Would you agree that perhaps the buyer and/or

the salesman might be the person who needs to understand
what good design is all about?

Do you feel that the common market with its well-designed
products from other countries may force industries in

the United States to up-grade the design quality of
their furnishings?

Could research in basic design aid our industries in
meeting this competition?

I appreciate your assistance in this study.

Sincerely

Mildred Chapel

115

E-Z

Much of my experience in the design area has been empirical
in nature so I am forced to generalize in my opinions.

You can score "Yes" in answer to your questions 1, 2, 3, 4,
and 7. Anything that is done to increase and promote the
appreciation, understanding, or measurement of design values
would be of benefit to all concerned.

In answer to question 5 I must agree that it would help the
overall picture if the buyer and/or salesman were equipped
with an understanding of good design. At the same time I
:must also state that this does not assure the success or
acceptance of well designed products. There is a saying

in our business that says, "any design that sells is a good
design." Experience has shown that the average consumer

is more likely to be influenced by social status, mass ad-
‘vertising, or price rather than good design. When the mer-
chant is faced with the choice of being a crusader or making
a profit he will make the obvious decision.

If one agrees with the premise in the preceding paragraph
then the answer to your question 6 would be "not necessarily."
If the imported designs sell then you can be assured that
UQS. manufacturers will "upgrade” their designs by copying

or modifying. Incidentally, if there is common agreement
that European designs are better or more advanced than ours
it might be well to look into the reasons why this is so

and why they have been made commercially possible.

In spite_of my disclosures I do not think that I like to be
cynical in my opinions. However, after many years of expe-
rience in this field I find it almost impossible to be other-
wise. There is some solace or escape for me in painting or
becoming involved in movements like the Arts Council which
are springing up over the country.

I believe that we as a nation have become victims of our
own growth. We have lost the desire for excellence and
creativity. We are prone to accept mediocrity if it will
get us by. With this in mind, I feel the grass roots ap-
proach to the elevation or improvement of Design is to find
ways to reawaken the desire to do something in the best way
we know how. The human mind is a wonderful mechanism. Given
half a chance it can produce beautiful and new things. If
it cannot produce, it will at least accept and appreciate.
To accomplish this state is the difficult task. Like other
problems of similar magnitude we generally come to the con-
clusion that our best bet is to start with the young.

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