It’s not until we find their flaws that we appreciate good design in the things we use every day, they say.
 
Indeed, how often do we even notice the design of the things around us or consider the process that goes into making them?

From the shape of our bottled drinks and the buttons on our electronic gadgets, to the joints of our reclining chairs: Each and every part of every object around us is designed meticulously by product designers for our convenience.

“You see the shape and curves in a water dispenser. That’s not there just for the kicks of the designer, but is meant to provide structure as well as aesthetics,” said Harry Maulana from the Indonesian Product Designers Association.

During the design process, the “form follows function” mantra is one that people in Harry’s profession keep top of mind.

For most product designers who work for mass production manufacturers – either as a freelancer or an in-house employee – the process begins with a design brief that sets out the target market, as well as fabrication and technical aspects.

Designing standing fans, rice cookers and water dispensers for a manufacturer whose products target the middle class, for example, Harry will not try to create too playful a form.

For an idea of what “good design” means, consider the rice cooker that Harry’s team at Tigo Design is working on. Built in the conventional cylindrical shape, it has a front pocket for the user to place a spoon in, removing any need to fuss around with another container for the additional spoon.
These are the simple things consumers take for granted.

“What matters is that it helps ease of use and has a certain level of durability, and then we think of colors and appearance that would appeal to the consumers,” Harry explained.

In the process of designing mass-produced household items, all of the factors intertwine. Although function is always first priority, a product’s final form is inseparable from its marketability.

“Design should be a solution,” Harry added, “and not create new problems.”
Some designers go the extra mile to try and encompass with their design solution even those groups that fall outside the target market.

For a Japanese manufacturer of electronic household products, designer Dino Fabriant came up with the concept of universal design. The washing machine he designed can even be used by blind people as it includes Braille on the operating buttons.
And such extra features need not be more expensive. Using 3D ink, which is cheaper than the punching techniques often used for Braille, Dino proved that a universal design can still be affordable.
While Dino and Harry work more with the everyday objects for manufacturing companies, some product designers choose to take a more avant-garde approach.
Leo Theosabrata’s Accupuncto chair and Alvin Tjitrowirjo’s bench are two examples. Their pieces show that, with good design, a chair is not only an item to sit on, but also a sight to behold.
“Its concept is very basic. It should be ergonomic and sturdy,” Leo said of his internationally acclaimed chair whose minimalist look combines a metal frame and modules of rubber lining and plastic capsules.
Accupuncto, which was launched in 2002, won the Red Dot Award for product design in Germany the following year.
At first glance, one might think the chairs are the creations of those Italian designers that Indonesian elites are so fond of. With the profession relatively new in this country, emerging Indonesian designs have been underestimated.
“It’s a bit tragic actually,” said young furniture designer Alvin Tjitrowirjo. “You know that Italians are very proud of Italian designs, and Indonesians too are proud … of Italian designs.”
On a mission to raise the local profile of contemporary Indonesian design, Alvin has tried with his Mingle bench to create a functional yet iconic design, one that he hopes will make Indonesians realize that they don’t have to look too far for quality and distinctive products.
“When everyone talks about Indonesian product design, the image that comes to mind is that of traditional handicrafts,” Harry pointed out. “Even government bureaucrats are still only thinking about batik and handicrafts when they look for products to display at international expos.”
Recently, however, the development of the profession has begun to attract attention. Under the
buzzword of the “creative industry blueprint”, the Industry Ministry has formed the Indonesian Design Development working group.
The ministry has set a target for the product design industry to contribute Rp 2.7 trillion to the national GDP – some 0.15 percent – in 2011.
Currently, the ministry is focusing on Jakarta, Bandung, Yogyakarta, Bali and Surabaya as the main development areas, with plans to extend the focus to secondary cities such as Manado and Balikpapan. About Rp 60 billion across 2007–2011 has been earmarked for the effort.
The private sector also is looking for ways to develop local talents in product design. Through competitions such as the Djarum Innovation Award and the LG Design Compe-tition, the partners of product designers are trying to discover young talents.
Such contests have already yielded fruit, bringing out innovative designs such as Ganzar Salata’s soap holder Saboon or the Dino Fabriant Mini Tall Boy Home Theatre that won the Silver Medal at the LG
Innovation Award 2006 in South Korea. Indonesia also has its annual Good Design Award.
But however good the designs uncovered from such competitions might be, more often than not they remain mere designs, with few actually having the privilege of being mass produced.
Despite being a huge market for electronics and household items, Indonesia has long been the site of mere assembly as leading companies choose to use their home designers or well-known international names.
And as product designer Singgih Kartono pointed out, breaking into the industry is not always easy.
“You cannot just go as a no one and submit your design to a company. It takes a high-level approach,” he said.
Thus, networking is essential for most product designers who choose not to work in-house.
“It’s pretty much a combination of knowing people who can lead you to a partner and the passion to pitch a good design that manufacturing companies cannot say no to,” Harry added.
To sum it all up, in the world of product design, it’s not only about who you know and what you know. It’s about combining them into making something useful.

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