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The skeptical reader may ask: Why is the idea of Minimalism considered to be necessary? They might as well ask: Is it absolutely necessary that simplicity is examined and explained? People realize that in every day practice, simple systems can be created without the need to consider theoretical concepts. Over time,experience or even trial and error methods will producesolutions that are simpler and better. Fieldwork, user modeling, and user testing can all assist in the identification of these, and successful engineering techniques exist to realize them. In the field of Art and Design, the theory is applied in the same way; moreover,the usage and interface need to meet the same requirements.
THESIS STATEMENT/HYPOTHESIS
When considering reduction, one is soon confronted with ideas about degree and direction. This paper tries to arrive at a systematic viewpoint in order to explain why designers strive to produce products and processes which are of ‘good design’ through reduction; but what exactly should be the correct target for reduction and what methods are already in existence in order to find the aspects of a design which is capable of reduction? Then it must be asked ‘Where is the place to start the search for such aspects?’
The phrase ‘Less is More’ is not only used in design, but also closely linked to the term Minimalism, which, although is initially referred to an art movement in the 1960’s was later applied successfully to design in a multitude of other disciplines. In each case, Minimalism always denotes reduction in an extreme case, and a central proposition of this work is to learn by looking at such extremes. Although simplicity as a valuable concept is accepted widely, truly simple systems are relatively rare – many systems, which perhaps began in a simple way, become ever more complex. This paper sets out to understand this paradoxical state both in the liberal arts and in design in general. The arts are understood as a sensitive arena where social and technical values are often displayed and discussed with extreme violence and clarity, long before the ideas behind them pass over to other disciplines. In the words of the director, Peter Greenaway:
“Today, many perceive painting as something that is both remote and insignificant. That is a tragic mistake. Painting is always ahead where sociological and philosophical developments are concerned. Look at the 20th century: all philosophical movements began with painting – Cubism, Surrealism, Minimalism, Structuralism and so forth. A new way of thinking about the world manifests itself always in painting. For me, painting is leading all other arts“ (Obendorf, 2009: 23).
Such art provides a way of manifesting new ways of thinking about the world by providing definitions of perspectives from which things look different. Through its Avant Garde nature, analyzing art can either assist by scouting for new trends or by making use of the vast experience that critics and historians have acquired when examining developments.
The approach taken tries to come up with answers thathelp to both identify and set the direction for reduction, as well as illustrate any trade-offs in degree. Minimalism rather than simplicity is not necessarily desirable. It can produce results that are boring, inadequate and even dangerous. Making use of the extreme as a model for design enables the viewing of ‘extreme’ traits in everyday products and so allows designers to find the acceptable and correct degree of reduction necessary. Therefore, the idea behind the work is essential. What is the aim of the product, why is it needed and how can we conceive such artwork? Minimalism is not an achievement, rather it is a means of creating art.
SIGNIFICANCE OF THE QUESTION
The initial intention behind this project was to define a single, unified standpoint for Minimalism, but the studies of the various available literature in art and design history soon made it clear that there was no agreed consensus about the significance of the term. Minimalism is a term used to describe art and design which at the same time is very similar and different. It soon became clear that this multiplicity of view point can be considered to be a virtue rather than a defect because they allow the disambiguation of various minimalist perspectives, and so of different types of simplicity.