Product Design and Ergonomics Prof.

Sachin Kallannavar

Module-3
Syllabus
Aesthetic Concepts: Concept of unity, concept of order with variety, concept of purpose, style
and environment, Aesthetic expressions. Style, components of style, house style, observation
style in capital goods, case study.
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AESTHETIC CONCEPTS
 Definition of Aesthetics: Aesthetics is often defined as the study or appreciation of beauty,
but this definition can be misleading or overly simplistic.
 Beauty as a Subjective Experience: Beauty is not a fixed, external reality; it is subjective
and varies based on the individual’s perspective, supporting the idea that "beauty is in the eye
of the beholder."
 Challenge of Measurement and Analysis: While the term 'study' might imply that beauty
can be analyzed or measured, common experience shows that beauty does not conform to
objective standards.
 Disagreement on Beauty: People often disagree on what is beautiful, and even when they
agree, their emotional responses to beauty can differ in intensity.
 Psychological Aspects: Since the appreciation of beauty is personal, it might seem to be a
subject for psychological study, which has been explored through experiments, typically
using simple shapes.
 Limitations of Simple Tests: Tests involving simple shapes have limitations—these shapes
are far removed from the complexity of real-world environments, and preferences may not
always indicate beauty.
 Personal Bias in Reactions: People’s reactions to simple shapes can be influenced by
personal experiences or meanings attached to those shapes, not just their aesthetic qualities.
 Value of Scientific Studies: Despite difficulties, scientific studies on aesthetics can still
contribute to a better understanding of how people perceive beauty and could enhance the
design of environments.

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 Artistic vs. Scientific Approaches: The scientific study of aesthetics should not be seen as
diminishing the value of aesthetic experiences, just as understanding a rainbow’s formation
doesn’t detract from its beauty.
 Concepts vs. Formulae: Aesthetic concepts are not rigid rules to be applied like engineering
equations. A product cannot be immediately pronounced aesthetically satisfying through a
formula, but deeper understanding may reveal underlying aesthetic principles.

THE CONCEPT OF UNITY

 Unity in Aesthetics: The concept of unity is central to aesthetics, appearing in many forms,
including historical attempts to define beauty, such as during the Italian Renaissance.
 Alberti’s Definition: Alberti defines beauty as "a harmony of all the parts" where no part
can be added, removed, or altered without diminishing the whole. This emphasizes the idea
that beauty arises from the overall balance and coherence of components.
 Not a Formula: Alberti's statement is not a strict formula, but rather a way of describing
why something is aesthetically pleasing because of how all parts fit together.
 Three Aspects of Unity:
i. Completeness: The subject should appear whole, with no missing or superfluous parts.
ii. Harmonious Relationship: All parts should work together in harmony.
iii. Holistic Perception: The viewer should see the subject as a unified whole, not focusing
on individual parts.
 Illustrating Completeness: Simple visual examples highlight how the presence of missing
or excess parts can disrupt unity. A complete and balanced arrangement is preferred over one
that is incomplete or has unnecessary extensions.
 Harmonious Relationships: Unity is often disturbed when parts of a composition
overpower others. For instance, when a rectangle is divided in certain ways, the viewer may
see two squares instead of the whole rectangle, a phenomenon called "duality."
 Balancing Dominant Elements: Unity can also be disrupted by parts that are too visually
dominant. In certain compositions, a central, dominant part may need to be balanced with
other elements to create a unified whole, as seen when a central strip is widened to enhance
balance.

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 Sensitivity in Arrangement: Achieving unity is a sensitive process that requires careful

placement of elements, ensuring that none overpower others in a way that disrupts the
perception of the whole.
 Avoiding "Pointless Beauty": Features that are individually attractive but do not contribute
to the overall unity of a composition can make the whole less aesthetically satisfying, as
illustrated by the inclusion of an out-of-place curved form in a container design.
 Design and Unity: In engineering and product design, parts may be made attractive
individually but fail to create a unified whole when combined. Designers must constantly
keep the whole in mind to ensure that the relationship between the parts contributes to overall
unity and aesthetic coherence.

Fig: The concept of unity illustrated in diagrammatic fashion

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THE CONCEPT OF ORDER WITH VARIETY

 Order and Unity: To achieve unity in a subject, its components should not only relate to the
whole but also to each other. This relationship is often referred to as order, which is crucial
for aesthetic appeal.
 Order in Music: In music, order is provided by rhythm, but rhythm alone can be
monotonous. Variations, such as a melody, add complexity and interest. Without rhythm,
such variations could confuse the listener.
 Order and Variety: The need for both order and variety is a fundamental aspect of many
aesthetic experiences, whether in music, poetry, or visual art. Roger Fry emphasizes that
order prevents confusion, while variety fully stimulates the senses.
 Historical Significance of Order and Variety: The idea of combining order with variety is
present throughout history. Plato, for example, considered the right-angled triangle (half of
an equilateral triangle) to be the most beautiful shape due to its ability to generate a variety of
other shapes.
 Birkhoff’s Formula: Mathematician George D. Birkhoff attempted to create a formula to
quantify aesthetic appreciation based on order and variety:
M = O/C
Where M is aesthetic measure, O is order, and C is complexity (or variety).
 Limitations of the Formula: While Birkhoff’s formula suggests that the aesthetic measure
increases as order approaches complexity, it’s clear that such a formula is limited. The values
ascribed to order and complexity would need specific limits, and the formula might not
account for all interpretations of order and variety.
 Eysenck’s Formula: Psychologist Professor Eysenck proposed a revised formula, M = OC,
but it is still unlikely that any formula could capture the full complexity of aesthetic
experiences related to order and variety.
 Interpretations of Order and Variety: The terms symmetry, balance, contrast,
continuity, and proportion are often used to describe different interpretations of the balance
between order and variety in a subject.
 Visual Examples of Order and Variety: Diagrams in the text illustrate how order and
variety can be expressed visually, such as the difference between a square (order with no

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variety) and a rectangle (order with some variety), or a circle (no variety) and an ellipse
(varied curvature).
 Mathematics and Beauty: While some mathematicians argue that mathematics inherently
produces beauty, not all mathematically defined shapes (like a circle) are universally
admired. More complex forms like parabolas and hyperbolas—mathematically generated but
containing both order and variety—are generally more appreciated.

Fig: The Concept of order illustrated in diagrammatic fashion

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THE CONCEPT OF PURPOSE

 Purpose in Aesthetic Judgment: Roger Fry argues that in addition to order and variety, a
key aspect of aesthetic judgment is the recognition of purpose - the sense that a work of art
or design was created with intention to evoke specific sensations.
 Personal Expression: Fry suggests that aesthetic appreciation involves recognizing a
personal expression by the designer, almost as if the viewer connects emotionally with the
creator through the design.
 Louis Sullivan's Principle: The idea that "form should follow function," proposed by
architect Louis Sullivan, emphasizes that the form of an object should reflect its intended
function. Fry’s view extends this by adding that the viewer should sense the designer’s
personal purpose behind the work.
 Industrial Equipment Design: In industrial design, equipment should visually communicate
its function, but often, due to added components, it may fail to do so clearly, making the
purpose unclear to the observer.
 Clarity and Simplicity: F.C. Ashford argues that a product's appearance is a personal
statement by the designer, much like a clear, descriptive writing. The most effective designs
are simple, highlighting the essential features while downplaying or eliminating unnecessary
ones.
 Starting with a Simple Sketch: The most effective design process begins with a simple
sketch that represents the basic elements of the machine. These elements should clearly
reflect their function, for example, a cantilever beam that tapers to reflect its purpose.
 Technical Solutions and Purpose: While technical requirements can guide the design, a
purely technical solution doesn’t always express the product’s purpose clearly. A designer
should aim for simplicity and clarity to convey the function of the product visually.
 Stereotypes in Design: People often judge new products against familiar stereotypes of
similar objects. For instance, a coffee pot shaped like a teapot may confuse the user.
Engineers also form strong stereotypes based on the equipment they are most familiar with.
 Breaking Stereotypes: While stereotypes are useful, they can limit innovation. New
products without direct predecessors, like the spark-erosion machine, challenge existing
stereotypes. Recognition of the structural composition of a new product can still convey its
purpose effectively, even if the design is unfamiliar.

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 Microscope Example: The development of a new type of microscope faced resistance

because it didn’t align with existing stereotypes. However, its functional design eventually
overcame this resistance, demonstrating how design can evolve to better express purpose,
even when breaking from tradition.

STYLE AND ENVIRONMENT

 Unity, Order, and Purpose: Unity, order with variety, and purpose are key concepts that
can be observed in all human creations, including works of art, buildings, structures, and
products. These concepts help define the aesthetic quality of a creation.
 Expression of Personality: Whether created by artists, architects, or engineers, all works
reflect the personality of their creators, meaning different designers can produce similar
functional products, but their individual styles will make them distinct.
 Aesthetic Response and Style: An aesthetic response often involves recognizing a particular
style, as products embodying similar duties can still be distinguished by their stylistic
expression, which is part of the overall aesthetic experience.
 "How" vs. "What" in Design: Just as a verbal or literary statement's merit depends on both
its content and its expression, the design of products is similarly judged not only on their
function but also on how they are aesthetically expressed. Overemphasis on "how" can
detract from the product's functional purpose.
 Products and Their Environment: Unlike works of art, architecture and products are
always related to the environment they occupy. An observer's aesthetic appreciation may be
influenced not just by the product itself but by how it fits into and interacts with its
surroundings, which can be an aspect of its style.

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AESTHETIC EXPRESSIONS
As mentioned earlier expressions such as symmetry, balance, contrast, continuity and proportion
can be related to the concept of order with variety. These terms are therefore considered in this
particular light.

1. SYMMETRY

 Symmetry and Engineering: Illustrations (a), (b), (c), and (d) all share symmetry, which is
common in engineering because many devices require symmetry for functionality or ease of
manufacturing.
 Symmetry as Order: From an aesthetic perspective, symmetry is a simple and effective way
to create order in a design.
 Excessive Symmetry: Symmetry is sometimes used unnecessarily, creating overly orderly
designs that serve no functional purpose. This can make designs feel artificial or lacking in
meaningful variation.
 Misuse of Symmetry: In some cases, symmetry is applied arbitrarily, such as in control
panels where the layout doesn’t reflect how controls are actually used. This can create a false
sense of order and lead to confusion or safety risks.
 Symmetry and Technical Requirements: Since symmetry often arises from technical
constraints, it usually serves a practical purpose in design, and little more needs to be said
beyond this.

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Fig: Examples of Symmetry

2. Balance
 Symmetry and Balance: Symmetry is the balance of identical features around a point, line,
or plane. When features are not identical, balance must be achieved through careful
arrangement to make the whole composition appear unified.
 Visual Examples of Balance: The illustrations demonstrate balance in design. For example,
in (a), the lack of relationship between elements results in no unity, while in (b), three
elements are balanced around a central point to create unity.
 Role of Shape and Mass: Changes in shape, as seen in (c) and (d), affect the balance of a
composition. For example, a triangle can pull the eye out of the design, and altering the
perceived mass of elements, like adding weight with color (as in e), requires further
adjustments for balance.
 Analogy with Engineering: While balance in design can be likened to balancing masses in
engineering (e.g., using moments), this analogy does not always directly apply in aesthetic
design. A product’s mass and components are generally interconnected, unlike abstract
compositions.

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 Designing with Purpose: In engineering, design balance is guided not just by aesthetic
principles like symmetry, but by the concept of purpose. Unlike abstract compositions,
engineering designs must address functional requirements while achieving balance.

Fig: Simple abstract compositions to illustrate an approach to balancing masses

3. CONTRAST
 Definition of Contrast: Contrast involves balancing two elements with distinctly different
characteristics. This balance can create visual interest and can be compared to the effects of
color contrasts.
 Color Contrast Analogy: Just as two contrasting colors can be irritating if used in equal
amounts, two dissimilar shapes of equal mass can be visually disruptive. A harmonious
relationship occurs when one element acts as a background to the other.

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 Purpose of Contrast: Contrasts are useful for drawing attention to specific areas within a
design or products, making them stand out. They create interest and emphasize key features.
 Overuse of Contrast: Extreme contrasts, when overdone, can lead to confusion or a garish
impression. They may detract from the overall design instead of enhancing it.
 Moderation in Contrast: While contrast is valuable for directing attention (such as to
control or work areas on machinery), it should be used judiciously. Extreme contrasts are
generally unnecessary to highlight important areas in a design.

4. CONTINUITY
 Continuity as Order: Continuity can be understood as a form of order, where a consistent
characteristic runs through a product, much like an underlying rhythm in music, creating a
cohesive whole.
 Examples of Continuity: Continuity is demonstrated through consistent design elements,
such as identical control levers, hand wheels, or similar design features across a product.
 Attention to Minor Features: Small, seemingly minor design details—like uniform corner
radii, consistent bolt sizes, or matching fixtures—can help tie the product together visually
and enhance its sense of continuity.
 Standardization for Continuity: Standardizing key features such as radii, bolts, nameplates,
visual indicators, and control elements contributes to a unified, cohesive design throughout
the product.
 Overall Impact: By focusing on these consistent design elements, a product can achieve a
sense of continuity that makes it appear more visually coherent and unified.

5. PROPORTION
 Proportion in Design: Proportion refers to the relationship between the dimensions of
features in a product or structure, and it is often judged in terms of purpose—how well the
proportions serve the product’s function.
 Judging Proportion in Engineering: Engineers typically judge proportions based on
functionality. However, one must avoid overly rigid stereotypes, such as the initial
perception that supersonic aircraft were “out of proportion” because their designs deviated
from more familiar subsonic aircraft.

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 Architectural Proportioning Systems: Architects have long used proportioning systems to

create harmonious relationships between components. The Golden Ratio (phi) is one such
system, historically considered a formula for beauty and used by famous architects like Le
Corbusier.
 Golden Ratio and Nature: The Golden Ratio can be linked to natural phenomena like the
growth patterns of shells and plants, where the Fibonacci sequence approximates phi.
However, its mystical associations shouldn’t overshadow its role as a tool for achieving order
with variety.
 Practical Proportions in Engineering: While proportioning systems like the Golden Ratio
can be intriguing, in engineering design, proportions are often determined by the specific task
at hand. A methodical approach, such as the one used by architect Sir Basil Spence in
designing the Coventry Cathedral, emphasizes understanding the rhythm and dimensions of
the task rather than relying on predefined formulas.

Fig. (a) Shows the ratio usually known as the Golden Ratio
(b) Shows a Golden Rectangle where a square cut from the rectangle produces another
Golden Rectangle

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A logical spiral is produced by joining up the corners of successive squares. This spiral is
similar to that found in a number of natural features e.g. Sea shells such as that of the
whelk

STYLE
 Difference in Style: Many products perform the same function but differ in appearance,
which is commonly referred to as "style." Style can significantly influence a product’s
appeal, especially in consumer goods and engineering equipment.
 Style and Product Appeal: While style can contribute to aesthetic pleasure, it is sometimes
given more attention than ergonomic, technical, or functional requirements. This often leads
to the incorporation of features that do not contribute to the product’s core function.
 Automobile Criticism: The automobile industry, for example, is often criticized for
prioritizing style over functionality or efficiency, with style being viewed as an expression of
personal identity rather than a purely practical design feature.
 Engineers and Style: Engineers may resist focusing on style, viewing it as unnecessary and
superficial, especially when it results in unpredictable changes or non-functional design
elements. They may be skeptical of styling changes that prioritize appearance over
functionality.
 The Role of Style in Sales: Despite criticisms, style plays a critical role in product sales,
particularly for consumer products like cars, household appliances, and electronics. If a
product is not visually appealing, it may fail to attract buyers.
 Industrial Designers and Style: Some industrial designers criticize styling while
unknowingly incorporating stylistic elements from other product types. This indicates that
style is inherently a part of the design process, whether acknowledged or not.
 Good vs. Bad Styling: Good styling is often associated with the absence of superfluous or
non-functional features. It emphasizes that all characteristics of a product serve its function
or production requirements. Bad styling includes unnecessary features that detract from the
product's purpose.
 Functionalism and Styling: The modern "functionalist" approach to design, epitomized by
"form follows function," is sometimes criticized for being too impersonal. A suggested

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alternative is “form permits function,” which allows for more stylistic flexibility while still
maintaining functionality.
 Good Styling Definition: Good styling arranges both functional and non-functional elements
in a manner that provides aesthetic pleasure. It does not require complete ornamentation or
decorative excess, but aims for a balanced, harmonious design.
 Historical Context of Styling: The debate over what constitutes good and bad styling is
shaped by historical trends in design. What might have been considered non-functional in the
past can now be seen as contributing to the overall aesthetic value, provided it is balanced
and thoughtfully integrated.

THE COMPONENTS OF STYLE

1. BASIC FACTORS
 Three Main Developments in Style Evolution: Significant product design styles are
derived from three main factors: new ways of achieving technical requirements, the
introduction of new materials, and innovations in manufacturing methods.
 Historical Examples in Architecture: Architectural styles, such as those in Greek and
Gothic architecture, show how construction methods (e.g., column and beam systems,
pointed arches) and materials have influenced style. Modern buildings with skeletal
frameworks, for example, were influenced by the introduction of steel.
 Engineering Influence of New Materials and Methods: In modern engineering, changes in
construction methods (e.g., the use of steel plate fabrication) and new materials (e.g.,
plastics) have led to the popularity of rectilinear forms, especially in machinery design.
 Link between Materials and Construction: Changes in material use, like the shift from
cast iron to steel plate, often work in tandem with changes in manufacturing methods to
produce new design styles. These changes can encourage different forms, such as rectilinear
shapes for steel-based designs.
 Environmental Impact on Style: While technical, material, and constructional
developments drive most design changes, the surrounding environment and context also play
a significant role in shaping product style, suggesting that external factors influence design
evolution.

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2. THE ENVIRONMENTAL FACTOR

 Aesthetic Reaction and Environment: Aesthetic responses to products are influenced not
only by the products themselves but also by their visual relationship with the surrounding
environment. This can include the desire to match the style of a product with its setting, such
as filling a historical house with period-style furniture.
 Influence of Architecture on Product Design: Throughout history, architectural styles have
greatly influenced product design, particularly in domestic products. For example, elements
like proportion, decorative styles (e.g., acanthus leaf), and materials have been carried over
from architecture into furniture and machinery design.
 Architectural Forms and Modern Products: Rectilinear buildings have led to the design of
rectilinear products, such as box-like storage devices, as both an aesthetic choice and a
practical solution for space usage. The influence of architecture extends to functional
products, reflecting the environment they inhabit.
 Le Corbusier's Modulor System: Le Corbusier’s 'Modulor' proportioning system, which
combines the Golden Ratio with human dimensions, links architectural design with product
design. This system was applied to both domestic products and buildings, ensuring harmony
between the built environment and the objects within it.
 Cross-Environment Influence in Engineering: While environmental influences may seem
more relevant to domestic products, engineering design is also affected by these aesthetic and
functional considerations. Early power machinery and modern automated equipment also
reflect the influence of architectural forms and the desire to create comfortable, familiar
environments for workers.

3. SOCIAL FACTORS
 Social Influence on Style: Product styles are often influenced by social factors and
aspirations, rather than just technical advancements or material innovations. For example, the
streamlined forms in products like consumer goods were inspired by the aerodynamics of
aircraft, even when there was no aerodynamic need.
 Leadership and Aspirational Styles: Society is influenced by perceived leaders—whether
people, products, or technologies. Products that reflect modern, advanced technologies (such

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as aircraft or computers) influence the design of unrelated products, creating a trend of

"aesthetic leadership" that shapes consumer product styles.
 Evolution of Style in Product Design: Style changes are often gradual, with new products
retaining familiar design elements from previous styles. In architecture and engineering,
elements like Greek columns or car body shapes are incorporated into modern designs, even
if they serve no structural or functional purpose, because they are familiar and culturally
significant.
 Status Symbolism: Products can act as symbols of status, not necessarily in a literal sense,
but as representations of aspirational lifestyles. Motivational research suggests that
consumers often buy products not just for their function, but because they signify affluence,
success, or other personal goals. Advertisers leverage these symbolic associations to market
products.
 Short-Lived Styles and Practicality: While ephemeral trends, such as the use of "tail fins"
in cars, are common in consumer products, they may not be suitable for long-lasting
equipment like capital machinery. The incorporation of short-lived styling trends can create
dated or incongruous designs in products meant for extended use. Therefore, it's crucial for
designers to balance aesthetic trends with long-term functionality.

HOUSE STYLE
 Manufacturer's Image and Product Appearance: A manufacturer’s reputation is strongly
influenced by the appearance of his products. Outdated, poorly finished, or crude products
can harm the perception of the brand and its marketability.
 Comprehensive Aesthetic Influence: The overall aesthetic impression of a manufacturer is
built from the design and appearance of not only products but also marketing materials,
catalogues, advertisements, stationery, and even delivery vehicles and premises.
 Effect on Personnel and Customers: Maintaining a high aesthetic standard across all
aspects of the business can positively influence both the manufacturer’s employees and
potential customers, indicating a high level of care and professionalism.
 Visual Continuity and Brand Identity: Clear visual consistency across products, trade
literature, and other materials helps create a strong and coherent brand identity. This

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continuity makes the manufacturer more recognizable in the marketplace, particularly for
businesses that operate over long distances.
 First Impressions Matter: A manufacturer’s first impression on potential customers is often
made through visual impressions from catalogues, trade exhibitions, or product displays.
These initial visuals can shape future perceptions of the company.
 Service beyond Products: A manufacturer is not just selling products but providing a
service, which includes assistance in purchasing, delivery, installation, operation, and
maintenance. Good aesthetic design can enhance this service offering.
 Impact on Transportation Services: Companies providing transportation services, such as
shipping lines, airlines, and railways, also emphasize a strong house style. These businesses
demonstrate how a well-designed aesthetic impacts service perception, even when the
“product” is not a tangible good.
 Visual Standard in Standardized Products: Companies dealing in standardized or low-
visual-character products (e.g., raw materials, engineering components like ball bearings or
pipe couplings) still benefit from a strong aesthetic in their branding and service presentation.
 Impression of Professionalism: A visually appealing, well-organized house style
communicates professionalism and careful planning, making a manufacturer appear more
competent and reliable in the eyes of customers and partners.
 Long-Term Customer Relationships: Consistent visual style in all aspects of business
operations - products, marketing materials, customer service - helps in building lasting
relationships with customers, ensuring they associate the manufacturer with quality and
reliability.

POTENTIAL COMMON STANDARDS IN A HOUSE STYLE

 Standardized Letter Forms and Layouts: The choice of lettering and layout plays a crucial
role in creating a consistent and recognizable house style. It must be clear, legible, and
adaptable across various applications (casting, etching, printing).
 Clarity and Applicability: Lettering should be easy to read and understand, especially for
technical or engineering products. It must be suitable for various mediums like machinery,
labels, catalogs, and manuals.

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 Distinctiveness: The typography and layout should stand out from competitors and avoid
being generic. It should be designed to last, avoiding trends that may become outdated, and
convey the manufacturer’s purpose (e.g., refined equipment should have refined lettering).
 Symbol or Trademark: A distinctive symbol or trademark helps establish a manufacturer’s
identity. The symbol should be simple, reproducible in different forms, and reflect the
manufacturer’s purpose. Uniqueness is important but should not be overemphasized,
especially if the brand name or initials are distinctive enough.
 Avoid Confusion with Competitors: The symbol should be clearly distinguishable from
those of competitors to avoid confusion, especially when creating brand recognition in a
crowded market.
 Colour Standardization: Colour is a powerful element in reinforcing a house style. In
engineering, colours should also meet ergonomic needs, such as visibility and usability.
Distinctive combinations of standard colours are often more effective than creating unique or
custom colours.
 Cultural Sensitivity to Colours: When choosing colours, manufacturers should research the
cultural meanings and associations of colours in the target market to avoid negative
connotations that could harm the brand.
 Standardization for Similar Products: For products that are similar but come in different
sizes or capacities, like motors or pumps, standardization of forms, components, controls,
and instructions is valuable. This ensures consistency and simplifies the manufacturing and
customer experience.
 Consistency across Products and Services: Standardization should extend beyond product
form to include control components, instructions, and how the products fit into a broader
system, like a material processing plant or accounting system.
 Attention to Detail in Installation: Ensuring that the installation process aligns with the
standardized design is essential. Overlooking components like piping or wiring could
undermine the intended visual and functional coherence of the product and system.

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ESSENTIAL REQUIREMENTS FOR A SOUND HOUSE STYLE

 Management Support is Crucial: Developing a consistent house style requires strong
backing from management and cooperation among key departments like design, production,
marketing, and publicity.
 Collaboration among Departments: Department heads must meet regularly to ensure that
the house style is being consistently applied across all areas of the company.
 Standardization with Flexibility: While standardization helps maintain consistency, house
style guidelines must be flexible enough to accommodate product variations and changes in
promotional material.
 Economic Efficiency: Standardization also promotes cost savings, especially in large
organizations, where multiple departments may handle purchasing and production. This
reduces the risk of inconsistency and waste.
 Comprehensive Approach: A successful house style must be comprehensive. Simply
creating a symbol or logo is not enough; it should extend across all aspects of the company’s
identity and operations.
 Avoid Partial Implementation: A house style must be fully integrated, not just a partial
implementation (e.g., a symbol alone), to avoid confusion or inconsistencies in branding and
identity.
 Transition Period: Introducing a house style will require a transition period, but it should be
kept as short as possible to minimize disruption and additional costs.
 Focus on Core Elements First: The quickest and most cost-effective way to implement a
house style is by starting with essential elements like stationery, catalogs, advertisements,
and nameplates, before expanding to other areas.
 Consistency Across All Company Products: Once the basic elements are standardized, the
design techniques should be consistently applied across all products and marketing materials
to ensure a cohesive brand image.
 Honesty and Integrity: A house style should be an honest reflection of the service a
company provides. It cannot create a reputation for a company if the actual service is subpar.
A poorly executed service can turn the house style into a liability.

Dept. of Mechanical Engineering, JCER, Belagavi Page 19

Product Design and Ergonomics Prof. Sachin Kallannavar

OBSERVING STYLE IN CAPITAL GOODS

 Capital Goods and Longevity: Unlike consumer products, capital goods (e.g., industrial
machinery) are designed to last for extended periods, so their style should avoid temporary,
ephemeral design elements that quickly become outdated.
 Style Should Reflect Purpose: The design of capital goods should prioritize functionality,
with style emerging from how well the product performs its task and the construction
methods used.
 Avoid Superficial Styling: In capital goods, style should not be based on fleeting trends or
decorative devices that don't contribute to the product’s functionality or purpose.
 Aesthetic Principles Linked to Functionality: The aesthetic design of capital goods must
be closely linked to the product’s function and construction, ensuring that the design visibly
supports its practical use.
 Modern Characteristics in Capital Goods: While some modern design elements from
consumer products or architecture may be valuable, they should be used cautiously and only
when they support the machine’s purpose, not just for stylistic reasons.
 Architecture as a Design Reference: Modern architecture provides a reliable source of
inspiration for capital goods design, as architectural forms tend to have longer life cycles and
serve as a backdrop for products, unlike more transient consumer product trends.
 Consumer Products as Misleading Models: Consumer product trends, which change
quickly, should not be copied in capital goods design, as they could make the machinery look
outdated too soon.
 House Style in Capital Goods: A key aspect of capital goods style is the incorporation of
the manufacturer’s house style, which reflects the brand’s identity and quality of service.
 Avoiding Deceptive Styling: When the methods used to create a product change (e.g., new
materials or technology), trying to update its style without improving the functionality and
construction can be misleading and dishonest.
 Inevitable Aging of Capital Goods: Over time, capital goods will inevitably appear “dated”
due to advancements in technology and manufacturing methods. When this happens, a
comprehensive redesign is preferable rather than just applying superficial updates.

Dept. of Mechanical Engineering, JCER, Belagavi Page 20