When we seek to understand what defines a culture—the worldview and behaviors that give it its unique characteristics—we must examine its principles and methods of design. The ways people live—the structures they build and inhabit, how they commune and worship, as well as the art and artifacts they create—are given form and meaning by the patterns expressed through various modes of design. Culture shapes design and, in turn, is shaped by design.
By tracing the influence of culture on design—and vice versa—we also observe how our ASID Annual Awards honorees will impact the design and cultural landscapes moving forward.
Culture finds its expression through design. We normally think of literacy in terms of a culture’s spoken and written languages, but there are many unspoken languages in various cultures, such as the visual cues and profound messages contained in and communicated through their interior places. What we recognize as cultural movements—such as classicism, romanticism, or modernism—are notable shifts in mindsets that led to a change in design thinking and, thus, cultural expression. In hindsight, we see how the predominance of certain cultural memes influenced design choices and then were reinforced and elaborated upon by artists and designers. Some cultures pay homage to the life of the mind and social order. They favor abstract, geometrical forms and linear, hierarchical arrangements. Other cultures are oriented to the natural world, and they reflect that in their use of organic forms, colors, and patterns drawn from local flora, fauna, and natural phenomena.
For example, William D. Browning, founder of Terrapin Bright Green and a major influence in developing a culture of sustainability, has dedicated much of his professional career to improving the health and well-being of individuals by connecting the natural and built environments. He was recently honored with our Design for Humanity distinction.
Culture inspires design, but it can also limit how we design. If we are locked into a particular paradigm, we may not explore other avenues of design. For more than 50 years in the U.S. we have built communities based on the ideals of the nuclear family and the “American dream” of suburbanism that formed the bedrock of the post-WWII economic boom. Designers have introduced many improvements and innovations over the years, but the basic model has remained essentially the same. But now, multiculturalism, environmentalism, changing demographics, and the rise of non-traditional living arrangements have brought about a new cultural perspective on design.
Lisa Marie Tucker is a lifelong educator who continually aims to expand the viewpoints of her students. She will receive the Nancy Vincent McClelland Merit award for her efforts to enhance design education by broadening the curriculum to include sustainable and socially responsible design.
Design can also be a force for change. As all beginning design students learn, design encompasses both form and function. Harmonizing form and function involves problem-solving, and that leads to innovation. When designers innovate, they introduce new ways of thinking, behaving, and looking into the culture.
Consider the development of workplace design. Throughout most of the 20th century, the model for workplace design—whether a manufacturing plant, office, hospital, or department store—was the factory, with an emphasis on efficiency, conformity, and managerial hierarchy. As the country has moved into the digital age and toward a service- and knowledge-based economy, the nature of work began to change, and with it the workplace. Businesses called upon designers to help them integrate new technology and make more efficient use of space. In the process, designers learned about how employees needed to work and the kinds of environments that would support them. Thanks to their research and innovations, workplaces today are more employee-centered, safer, and healthier.
Sonya Dufner, through her work as director of workplace strategy for Gensler New York, has contributed improvements in workplace culture by helping people build better communities that promote productivity and keep employees happier and healthier. She will be recognized with the Designer of Distinction honor.
The reciprocal relationship between culture and design occurs worldwide. Corporate and technological globalization has led to an international culture in which ideas, design, products, media, and other cultural influences are freely exchanged, borrowed, and “mashed up.” The newly affluent classes in China, India, and parts of Southeast Asia are eager for western luxury design and goods, reflected in recent hospitality and retail projects. While in the U.S. and Europe, Zen-inspired spas and bathrooms, along with yoga and meditation rooms, continue to grow in popularity for homes, hospitality, and even airports.
At the same time, this movement toward internationalism has led to a renewed appreciation for local culture. Major hotel chains are moving away from a cookie-cutter brand approach that promises guests the same experience anywhere in the world to a “locavore” model that emphasizes the individuality of place and community. It is a unique, innovative approach.
Wayne Ruga, founder of the CARITAS project, is being recognized for Design Innovation. His work has transformed the culture of healthcare delivery through the development of strategies and technologies that product generative environments.
The power to make a profound impact on culture can be found in every area of design, as demonstrated by this year’s ASID Awards recipients. Each in his or her own way has helped shape design in their respective specialties and, as a result, has brought about change in those areas. As we gather to celebrate these honorees and ASID’s 40th anniversary in Boston in July, we are reminded that design can be a positive means of future change, even as it expresses the best of the current culture.
Stephanie Clemons, Ph.D., FASID, FIDEC, serves as the ASID National Chair, Board of Directors and is a Professor of Interior Design and University Distinguished Teaching Scholar at Colorado State University. ASID can be reached at 202-546-3480 or [email protected], and on the Web at asid.org.
