Design Q & A is about Charles's philosophy of design and the work of the Eames Office.  The questions are asked by Madame L'Amic of the Musee des Arts Decoratifs in Paris for the exhibition, What is Design? held at the Louvre in 1969.  Production of the film was sponsored by Herman Miller, and the guitar music composed and performed by Laurindo Almeida.

A: One could describe design as a plan for arranging elements to accomplish a particular purpose.

A: I'd rather say is an expression of purpose—not merely art?. If it’s good enough, it may later be judged as art.

Q: Is design a craft for industrial purposes?

A: No, but design may be a solution to some industrial problems.

Q: Is design a discipline concerned with only one part of the environment?

Q: Is design the creation of an individual?

A: No. Because to be realistic, one must recognize the influence of those who have gone before.

A: There are always design constraints, and these often imply an ethic.

Q: Does design imply products that are necessarily useful?

A: Yes—even if the use may be very subtle.

Q: Can design create works reserved solely for pleasure?

A: Yes. Who would say pleasure is not useful?

Q: Should all form derive from the analysis of function?

A: The great risk here, is that the analysis may be... incomplete.

Q: Can the computer substitute for the designer?

A: Probably, in some special cases, but usually the computer is an aid to the designer.

Q: Does design imply industrial manufacture?

Q: Is design used to modify an old objects through new techniques?

Q: Is design used to fit an existing model so it's more attractive?

A: One doesn’t usually think of design this way.

Q: Is design an element of industrial policy?

A: If design constraints imply an ethic, and industrial policy includes ethical principles—then yes. Design is an element of industrial policies.

Q: Does the creation of design admit constraint?

A: Design depends largely on constraints.

A: The sum of all constraints. This is a key to design: the ability of the designer to recognizing as many constraints as possible—price, size, strength, balance, surface, time. Each problem has its own list.

Q: There are tendencies in schools of design?

A: Yes, but these reflect human limitations more than ideals.

A: Some needs are ephemeral—so most designs are ephemeral.

Q: Does design tend toward finality or permanence?

A: Those needs and designs with universal qualities tend toward relative permanence.

Q: How would you define yourself relative to a decorator, interior architect, or stylist?

Q: To whom does design address itself? The masses? Specialists? A privileged class?

Q: Have you practiced design under optimal conditions?

Q: Have you been forced to accept compromises?

A: I don’t remember being forced to accept compromises—but I have willingly accepted constraints.

Q: What is the primary condition for practicing and propagating design?

Design

_Design Q & A is about Charles's philosophy of design and the work of the Eames Office.  The questions are asked by Madame L'Amic of the Musee des Arts Decoratifs in Paris for the exhibition, What is Design? held at the Louvre in 1969.  Production of the film was sponsored by Herman Miller, and the guitar music composed and performed by Laurindo Almeida._


**Q: What is your definition of design?**
A: One could describe design as a plan for arranging elements to accomplish a particular purpose. 

**Q: It is an expression of art?**
A: I'd rather say is an expression of purpose—not merely art?. If it’s good enough, it may later be judged as art.

**Q: Is design a craft for industrial purposes?**
A: No, but design may be a solution to some industrial problems.

**Q: What are the boundaries of design?**
A: What are the boundaries of problems?

**Q: Is design a discipline concerned with only one part of the environment?**
A: No.

**Q: Is it a method of general expression?**
A: No. It is a method of action.

**Q: Is design the creation of an individual?**
A: No. Because to be realistic, one must recognize the influence of those who have gone before.

**Q: Is it the creation of a group?**
A: Very often.

**Q: Is there a design ethic?**
A: There are always design constraints, and these often imply an ethic.

**Q: Does design imply products that are necessarily useful?**
A: Yes—even if the use may be very subtle.

**Q: Can design create works reserved solely for pleasure?**
A: Yes. Who would say pleasure is not useful?

**Q: Should all form derive from the analysis of function?**
A: The great risk here, is that the analysis may be... incomplete.

**Q: Can the computer substitute for the designer?**
A: Probably, in some special cases, but usually the computer is an aid to the designer.

**Q: Does design imply industrial manufacture?**
A: Not necessarily.

**Q: Is design used to modify an old objects through new techniques?**
A: This is one kind of design problem.

**Q: Is design used to fit an existing model so it's more attractive?**
A: One doesn’t usually think of design this way.

**Q: Is design an element of industrial policy?**
A: If design constraints imply an ethic, and industrial policy includes ethical principles—then yes. Design is an element of industrial policies.

**Q: Does the creation of design admit constraint?**
A: Design depends largely on constraints.

**Q: What constraints?**
A: The sum of all constraints. This is a key to design: the ability of the designer to recognizing as many constraints as possible—price, size, strength, balance, surface, time. Each problem has its own list.

**Q: Does design obey laws?** 
A: Aren’t constraints enough?

**Q: There are tendencies in schools of design?** 
A: Yes, but these reflect human limitations more than ideals.

**Q: Is design ephemeral?**
A: Some needs are ephemeral—so most designs are ephemeral.

**Q: Does design tend toward finality or permanence?**
A: Those needs and designs with universal qualities tend toward relative permanence.

**Q: How would you define yourself relative to a decorator, interior architect, or stylist?**
A: I wouldn’t.

**Q: To whom does design address itself? The masses? Specialists? A privileged class?**
A: Design addresses itself to the need.

**Q: Have you practiced design under optimal conditions?**
A: Yes.

**Q: Have you been forced to accept compromises?**
A: I don’t remember being forced to accept compromises—but I have willingly accepted constraints.

**Q: What is the primary condition for practicing and propagating design?**
A: Recognition of need.

**Q: What is the future of design?**
A: ...