Form Follows Money - A Visual Essay by laurend.design

FORM FOLLOWS MONEY

A Visual Essay By Lauren Dyer

ABSTRACT

This visual essay forms a critical investigation into how money has dictated the form of design through history, governing movements such as modernism, streamlining, and the post-modernism rebellion against them. It analyses the extent to which money was an inďŹ&#x201A;uence through the 19th and 20th century, if this has changed now, and what happens if money continues to dictate form in the future. This has been done through photographic analysis, comparisons, secondary literary research, and primary research.

Modern designersâ&#x20AC;&#x2122; deliberate ignorance of the issue of poverty demonstrates how money-orientated they are, continually working for the rich to make extortionate sums of money rather than helping to solve societies issues.

By cross-referencing imagery and literature, a solid argument is made for the fact that form follows money in the present day, has done throughout history and what will happen if this continues.

Fig 1 - Kuczynski, P., 2005. unnamed piece [pencil drawing].

CONTENTS

Introduction

VOSS Water

Perth Arena

Slum Housing

Money Then

02 03

Industrial Design

The Barcelona Pavillion

The LC2 Chair

Human - Centred Design

Tide Advertising

Money Now

14 15 18

Money in the Future

27 30

Primary Research

Elysium

Conclusion

Figure List

References

Bibliography

Design For Poverty The Q Drum

Introduction

‘Design’ can be defined by how an object, product or service balances three main attributes: function, aesthetics, and cost. Designs that are considered the most successful are, and have always been, equated with the highest cost, maintaining the designer’s reputation, which is then bestowed upon the user once purchased. ‘Form’ can be defined in a variety of ways. Anything in the modern world that has been designed is considered to be a form, from architecture and product design, to film and fashion, with evidence to suggest that these are largely determined by money. Whether that is the wealth of the target market, investors, manufacturers or the economy in which the design is to be sold or used, money determines everything.

“95% of the world’s designers focus all of their efforts on developing products and services exclusively for the richest 10% of the world’s customers. Nothing less than a revolution in design is needed to reach the other 90%”. Polack, P., 2007, pg 19.

Design, being a ﬁeld of employment, naturally followed investments throughout history – as Von Goeler (2009) states, “Money is one of the major constituents in determining what our lives feel like, what our typical day feels like. Money also represents our society. It’s everywhere”. However, in recent years, as the pandemic that is poverty has worsened, we need to be asking ourselves: should more designers have shifted to helping combat the problem? This visual essay investigates how form followed money in the past, the

shift of this at present, and what the future will be if we continue on this path. “No one deserves to live in a world built on the degradation of human beings, forest, waters and the rest of our living planet. [..] No one deserves to spend their lives playing with numbers while the world burns. Ultimately we are protesting not only on behalf of the 99% left behind, but on behalf of the 1% as well. We have no enemies. We want everyone to wake up to the beauty of what we can create.” (Einstein, C., 2012) Pg 73).

MONEY THEN

INDUSTRIAL DESIGN

For most of history, when an object, product or service was required, people created it themselves or paid someone make it for them. Though there were specialisations in production, e.g. carpenters and blacksmiths, the output was still unique.

In late 19th and early 20th century Britain, after the industrial revolution, a new ﬁeld of employment was created, design. The change in technology in this period separated the act of design from manufacturing: with new machinery and increased product turnover, there became the need for people to design products to be rolled out to the masses. The was the creation of industrial design.

The Industrial Designers Society of America describes industrial design as a profession that “optimises function, value and appearance for the mutual benefit of both the user and the manufacturer” (Chang, K., King, S., 2015. Chapter 1.1) . The quote implies that it was only the user and manufacturer that were intended to benefit from this field of design, not wider society in any way.

Fig 2 - Howlett, R., 1858. The Great Eastern [photograph]

Fig 3 - Monet, C., 1877. The Brushstrokes of the Industrial Revolution [oil on canvas]

In the early 20th century, the new found wealth of European countries, from the industrial revolution, was pumped into opulent exhibitions and showcases, proving their wealth and enforcing their status to other countries. An example of this is the Barcelona Pavilion (ﬁgure 4) designed by Ludwig Mies van der Rohe in 1929. The pavilion was designed for the 1929 Barcelona international exhibition to accommodate the ofﬁcial reception presided over by King Alfonso XIII of Spain. Figure 5 shows the building constructed from glass, steel and four different kinds of stone –

Roman travertine, green

Fig 4 - The Museum of Modern Art, 1929. Ludwig Mies van der Rohe, Barcelona Pavilion, 1928–29. Exterior view from front, 1929 [photograph]

Alpine marble, Greek ancient green marble and Atlas Mountains golden onyx (Fundacio Mies Van Der Rohe Barcelona, [n.d.]).

The use of these materials expressed the precision of the build and the fortune that had been spent on it (amounting to approximately $1.5 million dollars - the same as the reconstruction that occurred years later (Benson, M., 1983)) . After the exhibition was closed, the entire pavilion was disassembled in 1930 despite the signiﬁcant reputation the building had grown. Figure 5 - Williams and Meyer, 1929. 1929 International Exposition, Barcelona Pavilion [photograph]

Pawley (1970) states "The Barcelona pavilion [...] was without practical purpose. No functional programme determined or even inďŹ&#x201A;uenced its Fig 6 - Merin, G., 2011. Barcelona Pavilion / Mies van der Rohe [photographic series].

appearanceâ&#x20AC;?. This, coupled with the almost immediate disassembly, is a perfect example of how form followed money in more developed countries. For the rich, money was thrown around with no consideration to sustainability and wider society: the wealth of the investors determined the expensive materials used in the construction of the Pavilion, as well as its sheer size and presence.

Fig 7 - Merin, G., 2011. Barcelona Pavilion / Mies van der Rohe [photographic series].

The industrial revolution was the inspiration for design movements such as Bauhaus and modernism, with Ludwig Mies van der Rohe (mentioned previously) being one of the many designers inﬂuenced by this. An example of how the industrial revolution kick-started ‘form follows money’ and movements like Bauhaus is the LC2 Chair by Le Corbusier. In the late 20s Le Corbusier branched into furniture, developing the famous LC2 chair and sofa (ﬁgure 8). The clean, sharp lines shown in the images are typical of the modernist style. The tubular steel used meant it quickly became one of the pieces to epitomise the ‘International style’, pioneering the modernist movement.

The cushions, separate to the frame and uphol-

Fig 8 - Cassina, 21st Century. LC2 POLTRONA [photographic collection]

stered in fabric or leather, gave the chair a disconnected feel, perfectly reﬂecting societies attitude towards money at the time (with people being disconnected from their excess wealth).

.Like the Barcelona Pavilion, the LC2’s use of expensive materials, reﬂects the inconsiderate choices designers made, and how the purpose of industrial design was purely to beneﬁt the user and manufacture with no ethical considerations. It is another prime example of how form follows money, with the wealth of investors, designers and design schools determining the size, materials, presence and advertisement of the LC2 and its “radicalist approach” to industrial production. ¬(Cassina, [n.d.]) Fig 9 - Cassina, 21st Century. LC2 POLTRONA [photographic collection]

Fig 10 - Anon, 2006. Villa Savoye, Poissy, France - A true masterpiece [photograph]

Fig 11 - Kamaski, K., 2014. Heidi Weber Pavilionâ&#x20AC;&#x201D;Center Le Corbusier, Zurich, 1967 [photograph]

In short, 1920’s British society was selﬁsh. Before the industrial revolution there was poverty, but the jobs, wealth and boost to the economy that came with the revolution reshaped society. The relationship with money shifted and became more casual. People has disposable income for the ﬁrst time and felt no pressure to save money.

Fig 12 - Life Magazine, 1928. Dancing the Charleston during the 'Roaring Twenties', cover of LIFE magazine, 18th February, 1928 [printed artwork]

HUMAN - CENTRED DESIGN

A rising consumer culture in the Post-WWII period created a new style of design â&#x20AC;&#x201C; human centred design. After the wars, once the economy had rejuvenated, people once again found themselves with more money. In the 50â&#x20AC;&#x2122;s and 60â&#x20AC;&#x2122;s society craved a new, more opulent style to oppose the austerity

the

war

and

the

modernist

movements,

making

human-centred design popular. With products designed for people and not for manufacture, movements like post-modernism arose. Designers jumped on these new trends as a way of making money, which can be seen in many design disciplines.

With the realisation that designing for people could be just as beneﬁcial as designing for industry, the importance of advertisement and visual culture grew rapidly. An example of this can be seen in Tide advertising , one advert from the 1950’s, and one from 2018. While the two adverts are similar in colour and composition, there are noticeable differences in the messages and meaning inferred by the form. In the 1950’s advert (ﬁgure 13), a woman can be seen holding the packaging with the title “Nothing like it!” in bold print above her.

The abundance of text on the advert trying desperately to sell the product is a reﬂection of the throw-away relationship with money at this time.

Fig 13 - Tide, 1950. Here’s TIDE – Proctor & Gamble’s New Wash Away Miracle! [magazine advert]

By relentlessly advertising why the public should buy their product, using large amounts of text and overly positive imagery, it shows the desperation of designers to make large sums of money. In contrast, ﬁgure 14 shows the Tide advert released earlier in 2018. The minimal use of text and imagery focuses more on the product, and, although the intention of advertisement has not changed in 70 years, the message sent by the adverts differ. Unlike the undertones of desperation from the 1920’s advert, the 2018 advert seems more relaxed. This is accurately representing the change in how form follows money. Previously, form followed the money the consumer had in a desperate, craving way. Instead of through advertising, which is more subtle, the desire is manufactured through the product itself. Either way, both adverts are prime examples how form has and still is following money

Fig 14 - Tide, 2018. Tide Pods Laundry Detergent [digital advert]

Fig 15 - OMO, 1950. Washing Machine Owners in their Thousands Prove OMO adds Brightness [printed advert]

Fig 16 - Brillo, 1957. Your Scorchiest Panâ&#x20AC;&#x201D;Bright in Seconds! [printed advert]

Fig 17 - OMO, 2018. With the Power of 10 Hands [digital advert]

Throughout history, from the post-industrial revolution in the 19th century to human-centred design in the mid-20th century, form followed money as society became richer and comfortable after the revolution and then after the wars. To maintain the countryâ&#x20AC;&#x2122;s happiness after the war, the media neglected any negative news in the 50â&#x20AC;&#x2122;s to uphold the illusion of the new, perfect world. This created a generation of ignorance from designers, who focused on money and not their responsibility to improve society, while consumers could buy into it without feeling guilt for the suffering of others. Proof enough that design followed money through this period.

Fig 18 - Mahurin, M., 2016. Illustration for Rolling Stone Magazine [oil on canvas]

MONEY NOW

DESIGN FOR POVERTY

“solutions emphasise the variety of means by which Over the past 30 years, media coverage has created a new found awareness of poverty and crisis across the world, particularly in Africa.

designers from around the world have attacked the ongoing bane of global poverty. Some ﬁnd unique ways to

An example of this is the coverage of the Rwanda genocide in the

provide basic needs while others address the root causes.

1990’s and the poverty crisis that followed this. Events like this and

Each does not stand alone, but I linked, building small

awareness raised by charity campaigns such as band aid in the 80’s

foothold in often remote parts of the world which have

gave society and awareness of the wider world. This awareness has created a new movement of design, design for poverty.

begun to improve the lives of individuals, families and communities.” Smith, C. E., 2007. P. 13.

Fig 19 - Getty Images, 2009. Matt Damon visits a well just outside Mekele, Ethiopia, in 2009. In his right hand he holds a bottle of regular water, in his left is a bottle of dirty water local children in Mekele drink every day [photograph]

Fig 20 - Fransden, V., 2005. Lifestraw [photograph]

Fig 21 - Hyde, R., Fisher, M., Butcher, M., Musa, A., 1998. Super MoneyMaker Pump [photograph]

In 1995 the UN deﬁned poverty in two different ways.Absolute poverty was deﬁned as “a condition characterised by severe deprivation of basic human needs, including food, safe drinking water, sanitation facilities, health, shelter, education and information. It depends not only on income but also on access to services” (United Nations, 1995).

Overall poverty takes various forms, including “lack of income and productive resources to ensure sustainable livelihoods; hunger and malnutrition; ill health; limited or lack of access to education and other basic services; increased morbidity and mortality from illness; homelessness and inadequate housing; unsafe environments and social discrimination and exclusion. It occurs in all countries: as mass poverty in many developing countries, pockets of poverty amid wealth in developed countries” (United Nations, 1995).

For this essay, poverty refers to absolute poverty in developing countries.

An example of how form follows money in product design can be seen in one of the most basic human needs – water. Design for poverty has created the Q-Drum (ﬁgure 22), a cylindrical polyethylene drum that allows water to be pulled over long distances. From the image it is clear that the product has been rotationally moulded, resulting in an expensive product. As Hendriske (pg.51, 2007) said about the Q drum:

“it is unaffordable to most people – those who need it cannot afford it and those who

Fig 22 - Invent For Humanity, 2011. Interview with Piet Hendriske, creator of the Q-Drum [photograph]

can do not need it”.

If it was to be sustainable solution to poverty this product would have to be sold, as give-away products are not be a viable long term solution to poverty. This product is a prime example of how ill-considered design for poverty is currently, with no regard for sustainability or long term success and not using local people or resources in its design or manufacture. In this case, the form of the product follows a lack of money, as if it was a rush to design and produce the Q-Drum for personal gratiﬁcation and recognition within society for considering more than the western world.

Fig 23 - Hendriske, P., 1993. The Q Drum—Rolling Water [photograph]

Fig 24- VOSS Water, 2016. Sparkling VOSS water [photograph]

A complete juxtaposition of this can be seen in more developed countries solution to providing people with water. Voss water is a Norwegian brand of bottled water. As shown in figure 24, Voss is a prestigious, artisan bottled water housed in a cylindrical glass bottle, retailing at £2 per 800ml. The use of glass in the manufacture of the bottle and its high end advertising reflect how unnecessary design has become in the western world. One Vice user (Briggs, S., 2014) said that “[Voss] shows the upper echelon, these so-called ‘most demanding water drinkers around the world,’ supping down Voss, brandishing Voss, foxtrotting with Voss in an array of glittering locations” – a reflection of how Voss have rebranded a basic human right as a show of status. Designers have realised that, because there is more profit potential in more developed countries, they will continue to manufacture desire rather than focus their efforts on designing for poverty.

Fig 25 - Kuczynski, P., 2005. Water Economy [pencil drawing].

Fig 26 - Hendriske, P., 1993. Women and Children Collecting Water in Plastic Containers, Village of Nobody, South Africa [photograph].

This is also evident in architecture. In the western world architecture is becoming ever more extravagant whereas in poverty stricken areas, like sub-Saharan Africa, an estimated 200 million people live in slum conditions with no access to suitable housing (Racelma, K., 2012). The opulent architecture in the western world can be seen in ﬁgure 27. Perth arena is a neofuturistic sporting and entertainment venue. With a ‘retractable roof, 36 luxury corporate suites and 5 dedicated function spaces, the Perth arena is a lavish project’ that was given a $150 million budget (Anderson, S., 2013). As shown in the image, the architecture has clearly been planned in detail with an elliptical sequence of changing elevations and interior public spaces. Though the initial budget was $150 million the architects and constructors exceeded that and the ﬁnal budget was $550 million. This was due to the architects altering details during the construction and using hugely expensive materials, including vast amounts of glass.

It’s clear from this image that money is no object to architects in the western world and extravagant designs are constructed just because it’s possible, not because it is necessary. 21 Fig 27 - Hocking, G., 2012. Perth Arena opening night, when Elton John performed [photograph]

Fig 28 - Dyer, L., 2016. Nsambya slum housing [own photograph]

Contradicting this, architecture in the poverty stricken areas of the world is virtually non-existent. In 2016, on a month long trip to Uganda, I lived in the middle of the biggest slum in Kampala. Figure 28 shows the conditions that millions of people around the world live in. Houses are made of any materials that can be scraped together and construction companies simply do not exist. Houses are built by hand and are often unsafe and horrendously small. It is clear from the image that architects in the western world could use their skills to build safer, more sustainable homes for millions of people who need it more, rather than creating unnecessary buildings.

Architecture as a whole is just another example of how the design industry is still dictated by wealth.

Fig 29 - Hester, J., 2010. Storeowner tends his shop of homemade wares at the entrance Mathare Valley [photograph]

Fig 30 - Miller, J., 2016. Kya Sands / Bloubosrand - Inequality in South Africa [photograph]

Fig 31 - Miller, J., 2016. Mexico City - Inequality in Mexico [photograph]

Fig 32 - Dyer, L., 2016. Children in Nsambya Slum [own photograph]. Kampala, Uganda.

Fig 33 - Giustu, F., Romano, F., 2013. 500,000 people live in Mathare, Nairobiâ&#x20AC;&#x2122;s second largest slum [photograph]

Fig 34 - Dyer, L., 2016. Slums cover the horizon in every direction [own photograph].

Fig 35 - Dyer, L., 2016. Corrugated Metal and Mud Housing As Far As Can Be Seen [own photograph]

Fig 36 - Miller, J., 2016. Mumbai - Inequality in India [photograph]

It would be hoped that after almost 100 years of modern design that humanity would learn to become less selďŹ sh and aid those in less fortunate positions for the good of all. It is clear however that although design for poverty does exist, it is still in its preliminary stages where designs are still largely ill-considered and unsustainable solutions. The continued practice by designers to manufacture desire in the western world rather than focus their efforts on designing for poverty and people who need it is proof that form still follows money.

Fig 37 - Unicef, 2008. Donâ&#x20AC;&#x2122;t ignore me [chalk on concrete]

Fig 38 - Unicef, 2008. Donâ&#x20AC;&#x2122;t ignore me [chalk on concrete]

MONEY IN THE FUTURE

In the past 30 years designers have spent the majority of their time and efforts into manufacturing desire to sell products to the developed world, making huge sums of money as a result. However, times are changing, and design and designers must change with it. Design could either stay as it is now, neglecting the most important issue in the world and being driven instead by selďŹ shness and greed. Or comparatively, the industry could not only realise itâ&#x20AC;&#x2122;s mistake, but begin to empower designers to help solve the issue that is poverty before it is too late.

Fig 39 - Wild Drawing (Anon), 2015. Greed Kills [Paint on concrete]

Poverty is only going to get worse as climate change in continued to be ignored. In October 2018 the UN released a statements claiming that the world only has “12 years to act on climate change” before the “fate that will resonate through generations in the damage done to humankind and life on earth” (Watts, J., 2018) . The ﬂooding, drought

“If students can make meaningful contributions in designing speciﬁcally for poor customers, why

and displacement that comes with this wll hit rural farmers of the less developed world

do designers continue to ignore this area? Is it

the hardest. The mass movement of people as a result will spread the issue of absolute

because It is much more difﬁcult than designing

poverty worldwide, including the western world.

products for rich customers? Is it because they perceived that there is no money to be made? if

In the past 30 years many more products and services have been designed for poverty. Due to the evolution of technology the products and services are ever evolving, but our understanding of the problem clearly is not, or surely more would have been done to

it is, I do not agree.” Polak, P., 2007, pg19

solve it?

A survey conducted by the author asked responders if they felt British society as a whole has more responsibility to solve the issue that is poverty. Of the 100 responders, 95% said they felt that Britain must do more to help poverty in developing countries, 100% of people believed that in the past western society has not done enough to alleviate poverty and, 78% of people believed that, in the next 50 years, society will continue to neglect poverty. All of these statistics highlight how aware society is now of the problem but that there is a lack of faith and a lack of will in many people to be part of the solution.

Fig 40 - Mahurin, M., 2012. Economic Inequality [oil on canvas]

The question of if humanity will change and solve the world’s problems has been a topic of debate for many artists and designers. An example of a piece of work that shows what could happen if design does not change is the film ‘Elysium’ by Tri Star, figure 41 and 42. The film takes place in 2154 where the 1% live out their “caviar dreams” while the rest of humanity suffers a ravaged, overcrowded earth. Neil Blomkamp, the director of Elysium currently places humanity’s odds of survival at 50:50; “

“The dice are going to be rolled and either we are going to come out of this through innovation or we are going to go down the road of Malthusian catastrophe.” (Blomkamp, N., 2013).

Fig 41 - TriStar Pictures, 2013. The Militarized World of District 9 [digital advert]

Blomkamp was exposed to a third world culture when he was growing up in south Africa (Yarm, M., 2013). As shown in the imagery, he has taken his experience of this culture, and interest in socio-political issues and formatted them in a way to pose a question to the audience – is this how you want humanity to end? With issues like overcrowding and poverty directly shown in this ﬁlm, as well as many other dystopian ﬁlms, it is clear that poverty is a pressing issue with artists and designers.

Fig 42 - Elysuim, 2013. [Film].

If the issue is not solved at this point, though the topics in the ﬁlm may be overexaggerated for cinematic purpose, there is real potential that

Fig 43 - Tukker, L., 2017. Earth—Cyber Tower [digital artwork]

humanity could end up with such a severe gap between the rich and poor that poverty engulfs 99% of the earth’s population. It is clear that form in the future, from housing to cities, could follow money in a much more severe way if designers fail to act now.

Fig 44 - Chanthara, N., 2014. Babiru 10—dystopian future [digital artwork]

Fig 46 - Chanthara, N., 2014. Babiru 04 - dystopian future [digital artwork]

Fig 45 - Gillette, J., 2018. Dismayland Calais [acrylic on canvas]

Fig 47 - Gillette, J., 2017. Mickey Autumn [acrylic on canvas]

CONCLUSION

This essay has highlighted many examples of where form has followed money throughout history, how form continues to follow money now, and what will happen if designers continue to neglect the ‘80% of the population of the world who live on less than $10 a day’ (Shah, A., 2013).

Money is and has always been essential not only form, but education, politics and survival. Though, in the western world, our relationship with money is changing, for the “2.7 billion people in the world who earn less than $2 a day, affordability rules” (Polak, P., 2007).

It is essential for designers in more privileged situation to start considering the other 80% if we want to eradicate poverty from the world.

Though money has always dictated form in the past, it is essential it does not in the future, for humanity’s sake.

Fig 48 - Farmby, Z., 2012. Eat the Rich [acrylic, oil, spray paint on canvas]

FIGURE LIST

Figure 1 - Kuczynski, P., 2005. unnamed piece [pencil drawing]. Poland: Pawel Kuczynski. Available at: https://www.pictorem.com/proﬁle/Pawel.Kuczynski?records=2 [date accessed: 15th October 2018] Figure 2 - Howlett, R., 1858. The Great Eastern [photograph]. The Victoria and Albert Museum, London. Available at: http://www.vam.ac.uk/content/articles/s/the-power-of-steam-at-sea/ [date accessed:20th October 2018] Figure 3 - Monet, C., 1877. The Brushstrokes of the Industrial Revolution [oil on canvas]. Durand-Ruel Gallery, Paris. Available at: http://irvingoldmanart.com/the-brush-strokes-of-the-industrial-revolution-monet/ [date accessed: 1st November 2018] Figure 4 - The Museum of Modern Art, 1929. Ludwig Mies van der Rohe, Barcelona Pavilion, 1928–29. Exterior view from front, 1929 [photograph]. New York: The Museum of Modern Art. Available at: https://www.guggenheim.org/arts-curriculum/topic/the-constructors [Date accessed: 16th October 2018] Figure 5 - Williams and Meyer, 1929. 1929 International Exposition, Barcelona Pavilion [photograph]. Chicago: Art Institute Chicago. Available at : http://digital-libraries.saic.edu/cdm/ref/collection/mqc/id/934 [date accessed: 16th October 2018] Figure 6 – Merin, G., 2011. Barcelona Pavilion / Mies van der Rohe [photographic series]. ArchDaily, Santiago. Available at: https://www.archdaily.com/109135/ad-classics-barcelona-pavilion-mies-van-der-rohe [date accessed: 5th November 2018] Figure 7 - Merin, G., 2011. Barcelona Pavilion / Mies van der Rohe [photographic series]. ArchDaily, Santiago. Available at: https://www.archdaily.com/109135/ad-classics-barcelona-pavilion-mies-van-der-rohe [date accessed: 5th November 2018]

Figure 13 - Tide, 1950. Here’s TIDE – Proctor & Gamble’s New Wash Away Miracle! [magazine advert]. Ohio: Proctor & Gamble. Available at: http://www.advertisingarchives.co.uk/detail/16666/1/Magazine-Advert/Tide/1950s [date accessed: 16th October 2018] Figure 14 - Tide, 2018. Tide Pods Laundry Detergent [digital advert]. Ohio: Proctor & Gamble. Available at: https://www.amazon.in/Tide-Laundry-Detergent-Spring-Meadow/dp/B004YHKVCM [date accessed: 16th October 2018] Figure 15 - OMO, 1950. Washing Machine Owners in their Thousands Prove OMO adds Brightness [printed advert]. The Advertising Archives, London. Available at: http://www.advertisingarchives.co.uk/detail/41669/1/Magazine-Advert/Omo/1950s [date accessed: 5th November 2018] Figure 16 - Brillo, 1957. Your Scorchiest Pan—Bright in Seconds! [printed advert]. The Advertising archives, London. Available at: http://http://www.advertisingarchives.co.uk/detail/49848/1/Magazine-Advert/Brillo/1950s [date accessed: 5th November 2018] Figure 17 - OMO, 2018. With the Power of 10 Hands [digital advert]. UniLever, London. Available at: https://www.omo.com/za/omo-power-of-10-hands.html [date accessed: 5th November 2018] Figure 18 - Mahurin, M., 2016. Illustration for Rolling Stone Magazine [oil on canvas]. California: Mattmahurin.com . Available at: http://www.mattmahurin.com/#/illustrations/ [date accessed: 30th October 2018] Figure 19 - Getty Images, 2009. Matt Damon visits a well just outside Mekele, Ethiopia, in 2009. In his right hand he holds a bottle of regular water, in his left is a bottle of dirty water local children in Mekele drink every day [photograph]. Seattle: Getty Images. Available at: https://www.theguardian.com/global-development/2017/apr/24/matt-damon-children-are-drinking-water-so-dirty-it-looks-like-chocolate-milk [date accessed: 20th November]

Figure 8 - Cassina, 21st Century. LC2 POLTRONA [photographic collection]. Meda, Italy: Cassina. Available at: https://www.cassina.com/en/collection/armchairs/lc2-poltrona [date accessed: 15th October 2018]

Figure 20 - Fransden, V., 2005. Lifestraw [photograph]. In: Smith, C., Design for the Other 90% (2007), p.13.

Figure 9 - Cassina, 21st Century. LC2 POLTRONA [photographic collection]. Meda, Italy: Cassina. Available at: https://www.cassina.com/en/collection/armchairs/lc2-poltrona [date accessed: 15th October 2018]

Figure 21 - Hyde, R., Fisher, M., Butcher, M., Musa, A., 1998. Super MoneyMaker Pump [photograph]. In: Smith, C., Design for the Other 90% (2007), p.14.

Figure 10 - Anon, 2006. Villa Savoye, Poissy, France—A true masterpiece [photograph]. Architecture Digest, New York. Available at: https://www.architecturaldigest.com/gallery/le-corbusier-best-buildings-slideshow/all [date accessed: 5th November 2018]

Figure 22 - Invent For Humanity, 2011. Interview with Piet Hendriske, creator of the Q-Drum [photograph]. Chicago: Invent for Humanity. Available at: http://www.impacthound.com/q-drum-rollable-water-container/ [date accessed: 16th October 2018]

Figure 11 - Kamaski, K., 2014. Heidi Weber Pavilion—Center Le Corbusier, Zurich, 1967 [photograph]. Architecture Digest, New York. Available at: https://www.architecturaldigest.com/gallery/le-corbusier-best-buildings-slideshow/all [date accessed: 5th November 2018]

Figure 23 - Hendriske, P., 1993. The Q Drum—Rolling Water [photograph]. In: Smith, C., Design for the Other 90% (2007), p.50.

Figure 12 - Life Magazine, 1928. Dancing the Charleston during the 'Roaring Twenties', cover of LIFE magazine, 18th February, 1928 [printed artwork]. New York: Bridgeman Images. Available at: https://www.bridgemanimages.com/en-US/peter-newark-american-pictures-ten-years [date accessed: 5th November 2018]

Figure 24 - VOSS Water, 2016. Sparkling VOSS water [photograph]. New York: VOSS Water. Available at: http://www.duckhousecorbridge.co.uk/sparkling-voss/ [date accessed: 16th October 2018] Figure 25 - Kuczynski, P., 2005. Water Economy [pencil drawing]. Poland: Pawel Kuczynski. Available at: https://www.pictorem.com/proﬁle/Pawel.Kuczynski [date accessed: 16th October 2018]

Figure 26 - Hendriske, P., 1993. Women and Children Collecting Water in Plastic Containers, Village of Nobody, South Africa [photograph]. In: Smith, C., Design for the Other 90% (2007), p.53.

Figure 40 - Mahurin, M., 2012. Economic Inequality [oil on canvas]. California: Mattmahurin.com . Available at: http://www.mattmahurin.com/#/illustrations/ [date accessed: 30th October 2018]

Figure 27 - Hocking, G., 2012. Perth Arena opening night, when Elton John performed [photograph]. Perth: GregHocking.com . Available at: https://architectureau.com/articles/perth-arena/ [date accessed:18th October 2018]

Figure 41 - TriStar Pictures, 2013. The Militarized World of District 9 [digital advert]. California: TriStar Pictures. Available at: https://www.wired.com/2013/07/blomkamp-elysium/ [date accessed: 20th October 2018] Figure 42 - Elysuim, 2013. [Film]. Directed by Neill Blomkamp. California; TriStar Pictures.

Figure 28 - Dyer, L., 2016. Nsambya slum housing [photograph]. Kampala, Uganda. Figure 29 - Hester, J., 2010. Storeowner tends his shop of homemade wares at the entrance Mathare Valley [photograph]. Illinois: The Illinois Times . Available at: https://illinoistimes.com/article-6799-exhibition-inspired-photographs-of-poverty-and-hope-in-africa.html [date accessed:21st October 2018]

Figure 43 - Tukker, L., 2017. Earth—Cyber Tower [digital artwork]. Utrecht: Leon Tukker Artstation. Available at: https://www.artstation.com/leontukker [date accessed: 5th November 2018] Figure 44 - Chanthara, N., 2014. Babiru 10—dystopian future [digital artwork]. Montreal: Nivanh Chanthara Artstation. Available at: https://www.artstation.com/nivanhchanthara [date accessed: 5th November 2018]

Figure 30 - Miller, J., 2016. Kya Sands / Bloubosrand - Inequality in South Africa [photograph]. Cape Town: Unequalscenes.com . Available at: https://www.unequalscenes.com/kya-sandsbloubosrand [date accessed 22nd October 2018]

Figure 45 - Gillette, J., 2018. Dismayland Calais [acrylic on canvas]. California: Jeffery Gillette. Available at: https://www.instagram.com/p/BftBp7-lfcf/ [date accessed: 5th November 2018]

Figure 31 - Miller, J., 2016. Mexico City - Inequality in Mexico [photograph]. Cape Town: Unequalscenes.com . Available at: https://unequalscenes.com/mexico-city-df [date accessed 22nd October 2018]

Figure 46 - Chanthara, N., 2014. Babiru 04—dystopian future [digital artwork]. Montreal: Nivanh Chanthara Artstation. Available at: https://www.artstation.com/nivanhchanthara [date accessed: 5th November 2018]

Figure 32 - Dyer, L., 2016. Children in Nsambya Slum [own photograph]. Kampala, Uganda.

Figure 47 - Gillette, J., 2017. Mickey Autumn [acrylic on canvas]. California: Jeffrey Gillette. Available at: https://www.instagram.com/p/BT6fYf5FJwe/ [date accessed: 5th November 2018]

Figure 33 - Giustu, F., Romano, F., 2013. 500,000 people live in Mathare, Nairobi’s second largest slum [photograph] . Milan: La Triennale di Milano. Available at: http://www.triennale.org/en/mostra/made-in-slums-mathare-nairobi/ [date accessed 22nd October 2018]

Figure 48 - Farmby, Z., 2012. Eat the Rich [acrylic, oil, spray paint on canvas]. Elephant Room Gallery, Chicago. Available at: http://zephfarmby.com/love-lust-desire-gallery/ [date accessed October 30th]

Figure 34 - Dyer, L., 2016. Slums cover the horizon in every direction [own photograph]. Kampala, Uganda. Figure 35 - Dyer, L., 2016. Corrugated Metal and Mud Housing As Far As Can Be Seen [own photograph]. Kampala, Uganda. Figure 36 - Miller, J., 2016. Mumbai - Inequality in India [photograph]. Cape Town: Unequalscenes.com . Available at: https://unequalscenes.com/mumbai [date accessed 22nd October 2018] Figure 37 - Unicef, 2008. Don’t ignore me [chalk on concrete]. Beijing: Unicef. Available at: http://theinspirationroom.com/daily/2008/dont-ignore-me-4/ [date accessed: 8th November 2018] Figure 38 - Unicef, 2008. Don’t ignore me [chalk on concrete]. Beijing: Unicef. Available at: http://theinspirationroom.com/daily/2008/dont-ignore-me-4/ [date accessed: 8th November 2018 Figure 39 - Wild Drawing (Anon), 2015. Greed Kills [Paint on concrete]. Bali: Wild Drawing. Available at: http://wdstreetart.com/mobile/blog/11-wd-paints-money-kills-,-a-new-mural-in-bali,-indonesia-streetartnews-net.html [date accessed: 15th November 2018]

REFERENCES

INTRODUCTION: Polak, P., et al., 2007. Design for the Other 90%. 2nd Ed. New York: Cooper-Hewitt, National Design Museum, Smithsonian Organization. Von Goeler, H., 2009. Money Design and History [online]. Milan: Designboom. Available at: www.designboom.com/design/money-design-and-history/ [date accessed: 12th October 2018] Einstein, C., et al., 2012. Meme Wars: The Creative Destruction of Neoclassical Economics. New York: Seven Stories Press.

Hendriske, P., et al., 2007. Design for the Other 90%. 2nd Ed. New York: Cooper-Hewitt, National Design Museum, Smithsonian Organization. Briggs, S., 2014. Voss Water is Bullshit [online]. Montreal: Vice Media. Available at: https://www.vice.com/en_us/article/3b7739/voss-water-is-bullshit-820 [date accessed: 16th October 2018] Racelma, K., 2012. Towards African Cities Without Slums [online]. New York: United Nations. Available at: https://www.un.org/africarenewal/magazine/april-2012/towards-african-cities-without-slums [date accessed: 18th October 2018] Anderson, S., 2013. Perth Arena [online]. Melbourne: Architecture Australia. Available at: https://architectureau.com/articles/perth-arena-1/ [date accessed: 18th October 2018]

MONEY THEN: Chang, K., King, S., 2015. Understanding Industrial Design [eBook]. Massachusetts: O’Reilly Media, Inc. Available at: https://www.oreilly.com/library/view/understanding-industrial-design/9781491920381/ [date accessed: 15th October 2018] Fundacio Mies Van Der Rohe Barcelona, n.d. The Pavilion [online]. Barcelona: Fundacio Mies Van Der Rohe Barcelona. Available at: http://miesbcn.com/contact-foundation/ [date accessed: 16th October 2018]. Benson, M., 1983. ART PEOPLE; Mies pavilion to rise again. The New York Times [online]. 1st April, p.2. Available at: https://www.nytimes.com/1983/04/01/arts/art-people-mies-pavilion-to-rise-again.html [date accessed: 15th October 2018] Pawley, M., 1970. Mies Van Der Rohe Introduction and Notes by Martin Pawley with 60 Photographs by Yukio Futagawa. New York: Simon and Schuster. Cassina, n.d.. LC2 POLTRONA [online]. Italy: Cassina. Available at: https://www.cassina.com/en/collection/armchairs/lc2-poltrona [date accessed: 15th October 2018]

MONEY IN THE FUTURE: Watts, J., 2018. We have 12 years to limit climate change catastrophe, warns UN. The Guardian [online]. 8th October 2018. Available at: https://www.theguardian.com/environment/2018/oct/08/global-warming-must-not-exceed-15c-warns-landmark-un-report [date accessed: 18th October 2018] Blomkamp, N., Yarm, M., 2013. Elysium’s Director Thinks His Hellish Paradise Is Our Future. Let’s Hope He’s Wrong [online]. New York: Wired. Available at: https://www.wired.com/2013/07/blomkamp-elysium/ [date accessed: 20th October 2018]

CONCLUSION Shah, A., 2013. Poverty Facts and Stats [online]. London: Global Issues. Available at: http://www.globalissues.org/article/26/poverty-facts-and-stats [date accessed: 20th October 2018]

MONEY NOW: Smith, C.E., et al., 2007. Design for the Other 90%. 2nd Ed. New York: Cooper-Hewitt, National Design Museum, Smithsonian Organization. United Nations, 1995. Absolute and Overall Poverty [online]. New York: Poverty and Social Exclusion. Available at: http://www.poverty.ac.uk/deﬁnitions-poverty/absolute-and-overall-poverty [date accessed: 16th October 2018]

APPENDIX

SURVEY: FORM FOLLOWS MONEY Q1 - Do you feel that, as a whole, society in Britain has more responsibility to help solve poverty in developing countries?

Q2 - If yes, which of the following contributions do you think would achieve the most sustainable solution to poverty?

Q3 - In your opinion, has the western world done enough in the past to alleviate poverty in less developed countries to this date?

Q4 - Do you think that society will in the next 50 years... a) eradicate poverty and become a more egalitarian society b) continue to neglect the problem with poverty being an ever-present issue

Survey created via SurveyMonkey.com Responders: 100 Response rate: 100%

BIBLIOGRAPHY

Everyman, M.R., 2018. The Bauhaus School and the History of Bauhaus Modern Designer Furniture [online]. Spain, RetroEurope. Available at: https://www.retroeurope.com/hola-blog/the-bauhaus-school-and-the-history-of-bauhaus-modern-designer-furniture/ [date accessed: 15th October 2018].

SUMMARY

WORD COUNT : 2500+247 (2747) IMAGE COUNT : 50 - 2 (48)

Smith, D., 2017. Matt Damon: â&#x20AC;&#x2DC;Children are drinking water so dirty it looks like chocolate milkâ&#x20AC;&#x2122; [online]. Washington: The Guardian. Available at: https://www.theguardian.com/global-development/2017/apr/24/matt-damon-children-are-drinking-water-so-dirty-it-looks-like-chocolate-milk [date accessed: 15th November 2018]