GERHARDT KELLERMANN










INTEGRATION OF AWARENESS

this project is a theoretical work about the integration of awareness in design.
it deals with the cause and effect of objects. "Sustainable Design" - This term
will apply to the period of growing ecological and economic crisis, more and more
use, he appears in numerous publications including the "Green Design" or "eco de-
sign '. However, the question arises whether there is not much more behind the
loading reached the sustainability hides as a new, more efficient and intelligent
use of resources. Considering the two terms separately design and sustainability,
and defines its essential elements, you can see very quickly that the design of new
facilities and sustainability seem contrary. While sustainability focuses on long-
term stability and continuity of products, attempts to design these products to re-
place it with new directions and innovations. This is not basically wrong. However,
many of these new developments is more apparent than his, they should give the impres-
sion old products to be superior to the detachment. However, whether the benefits of
this innovation to the immense effort of the development and production requirements
is not decisive. What matters is the resulting increase in sales. Sustainable design
should aim to put products to question more closely. Products should only be modified
ifthey remain viable for the future because, durable and reliable. It should help the
consumer to more awareness in their purchasing decisions. Sustainable design should
focus on its social role.



























HESTIA

(google translation) - "Hestia" is a tea pot is built up in two layers. First, from a
classic white porcelain and a wrapping of polished steel. A special coating on the
steel,however, modified by skin contact. By the fatty acid on the fingers of the affect-
ed agencies discolored and dull. Consequently, then this pitcher, "Hestia", no handle
or grip. Attention is thus directed to the procedure of the handle and pour. The pour-
ing of the guest is given a special meaning. It suggests care, hospitality and respect.
Due to the many obvious fingerprints on the teapot to the visitor is suggested that he
is in a Hospitable house. The owner of the pot with these traces shows that he enjoys
and often drink tea with friends and guests. He exudes a certain amount of experience
and seriousness. Every guest is a track on the teapot. Only through an intensive and
long term use pot unfolds its full beauty.

The possession of high-quality objects from the 18th century was usually reserved for
the nobility. The sole possession of valuable objects lead-te is far from the noble title.
In addition there was a kind of "five generations" rule. This said that a family only
reached the rank of nobility, if they last for five generations could claim back away.
Thus, there were objects with a patina of outstandingly high importance to a long-held
note. Objects without patina had rather to a parvenu, a "new rich" without the appropriate
familial background. Only at the end of the 18th Century with the era of modernity re-
vealed a change. The old rules were forgotten. Everyone could now advance by its own assets
in a certain social rank. The own possession became a prime example of success. Due to a
rapid rise was a "self-made man." In order to take this outside to be decorated with pre-
cious and especially new products. Thus, old products and products with patina had become
unfashionable. New objects were a sign of success.This led to a very interesting phen-
omenon, the virginity of products. A high-quality and valuable product works then if it
embodies a certain purity and innocence. Our entire product reflects that shines and
shimmers in bright colors. Any speck of dust, every spot and every fingerprint has
hampered our appeal.



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