What is industrial space? Almost everything: everything that has been built and manufactured sequentially over two centuries forms the spatial configurations that we call the industrial environment: national territory, city, home, television, video games, the Internet. These worlds, these reference spaces in which consciousness is located and identifies itself, are most often considered dependent on human interests, as arising from technology that is outside of us; this is not so: human interests are a constant history, and if technical revolutions are important historical events, technology, technology discourse, are never more than their commercial arguments.
Industrial space design is the art of space information, the art that defined the industrial era in which we have been living for two centuries, the art that realizes civil liberty, the flourishing of a citizen, but also the social and technical determination that limits our daily lives.
The industrial style and the virtual worlds that come from it have no other purpose than to free a person from the material limitations that affect his existence, and it is the form, configuration that these worlds take that determine their effective. Industrial history is the history of design, the history of the evolution of the form of industrial production, the history of its aesthetics. The current use of the term Industrial space design is generally ambiguous. Is it a style?
What serves to ensure, in general, the discourse that man leads to the objects that surround us? Usually this is what comes down to the following: technological style and discourse about utilitarian objects. The triviality of these objects that serve, which are therefore slavish, does not make it a priori the subject of philosophy, but an argument for sales. But what we understand in French as “design,” industrial or utilitarian aesthetics is indeed a topic that philosophy should pay attention to, since it describes the attitude of the subject of thinking to his world, and that this report cannot be understood without Design .
The Greek sophist argued that man is the measure of all good. If we are not going to do anything else here, except chrematistics, estimating the cost of goods for a person, then it is obvious that the report underlined by the sophist is overturned: it is his goods that determine the Man in an industrial society. However, the design, understood here as a set of utilitarian goods, if it occupies an unconditionally important place in the life of the consumer, since it is a means by which he defines himself socially, has his own existence, which is a definition.
Design is our entire material environment, everything around us. In the so-called “industrialized” countries, we no longer live in contact with nature, and even the latest farmers work with machines that emphasize the rationalization and use of natural areas. Design is an industrial environment, and the only places on earth where this is not the case are forests, nature reserves, wastelands, inaccessible poles, the sea, space: deserted places where the habitat, in one way or another, is undesirable. Fields, cities, industrial zones, the virtual space of television and personal computers are industrial environments developed by man and for him: these are the horizons, the worlds in which man was created thanks to industrial production, in which he is destined to determine, to decide who he is and what he wants. What we then call design is the form of these environments by which they define themselves; but first of all we must understand the essential fact.
In France, we use the English term “Industrial space design” to mean industrial or utilitarian aesthetics. Design means nothing more than “design”, in contrast to “drawing”, drawing, drawing, “draw”. Therefore, “design” means designation, designation and, on the other hand, design. The difference between “design” and “drawing” is actually drawn between the literal and the figurative, just like the French homophony between design and drawing, but it must be emphasized that this difference hides the unity of meaning: we must think materially in order to design and vice versa.Design objects are objects created according to a drawing and implemented materially for humanity; there is a dialectic of projection: the object is conceived, then produced and finally scattered; historical dialectics also exist: the totality of conceived objects becomes the environment, the place of residence of consciousness, peace and evolution of these worlds, their increasing plasticity and decreasing tangibility, as we pass from space from the largest to the smallest, and then the most abstract, draws the history of industry.