creativeculturesandcontext

[creativeculturesandcontext]

“Design Thinking: Past, Present and Possible Futures

– what constitutes the character of design research? His point of departure was that design is about creation, while other sciences deal with what already exists. What, then, is research about creation? His seminal work, The Sciences of the Artificial, was an answer to that question, and a legitimization of an experimental approach to design research in academia pg 124

 Design and Designerly Thinking as a Problem-Solving Activity

Buchanan’s (1992) article about ‘wicked problems’ in design has become a foundational reference not only for the discourse about design thinking, but also for the whole design area. Buchanan presented designers’ professional way of thinking as a matter of dealing with wicked problems, a class of social systems problems with a fundamental indeterminacy without a single solution and where much creativity is needed to find solutions. Pg125

 Buchanan was the first to really take a designerly perspective on design thinking, building on Rittel and Webber’s (1973) wicked problem approach as an alternative to the accepted step-by-step model of the design process with its two distinct phases: an analytic step of problem definition, followed by a synthetic sequence of problem solution.

Buchanan introduced the concept of placements to describe the process of contextualization. Placements are ‘tools’ for intuitively or deliberately shaping a design situation, identifying the views of all participants, the issues of concern, and the intervention that becomes a working hypothesis for exploration and development, thereby letting the problem formulation and solution go hand in hand rather than as sequential steps.pg125

As Wylant (2010) notes, design thinking is the discipline of cycling through many contextual exercises of placements to understand ‘how sense can be made of something and given this, the designer is then in a position to choose which contexts should dominate and the manner in which they should’ (p. 228). The notion of placements in response to worked problems dissolves the boundaries between modernist and postmodernist design thinking

Lawson and Cross could be seen as part of the reflexive tradition started by Schön. However, their texts are within a different discourse: they are practice-based through presenting examples rather than taking a philosophical perspective. Both Lawson and Cross use abductive processes to make sense of and generalize from observations, and hence find patterns that are grounded in practical experience and can be described through practical examples. Ultimately each scholar suggests a ‘model’ of the design process: Lawson in a number of process-driven steps that attempt to describe the complex processes of designing (2005: 289–301), and Cross in a recursive representation of the design strategy followed by creative designers (2011: 78)

 . Design and Designerly Thinking as Creation of Meaning (rather than Artefacts) Starting from a philosophical and semantic background, Krippendorff (2006) defined design and designers’ work as a matter of creating meaning (rather than artefacts as in Simon’s notion). Compared with Simon, one could say that Krippendorff reversed the relation between the design object and its intention. For Simon the artefact is at the core, and he would probably say that meaning is an attribute, while for Krippendorff meaning is the core of the design process and the artefact becomes a medium for communicating these meanings. This is much like victor Papanek and social design.

Verganti (2009) extended Krippendorff’s work to innovation processes, arguing that innovation in meaning is as important as technological innovations that are mostly related to the concept of innovation.

n. One of his examples is Alessi’s commercially successful kitchenware that gives radical new meanings to commonplace objects like a corkscrew and a lemon squeezer. Before they were designed, the company had an extensive collaboration with a psychologist, and the way the objects look – as stylized products rather than mundane tools – was based on frame theories of boundary objects to which individuals were especially attached (Verganti, 2009: 40–3). Nintendo’s Wii is another example of a product that could not have been conceived by video game players before its appearance in the market, yet the console was a radical innovation in meaning, from an entertainment gadget for children to active physical entertainment, in the real world, through socialization (Verganti, 2009: 4–6). This shit here is epic

This approach using the management discourse might be understandable, but the result was probably counterproductive as such positivistic descriptions stripped design of its constructionist and contextualized meanings.

The concept of ‘design thinking’ became a portal for the whole design area to contribute to innovation, and design thinking enabled innovation to supersede strategic management as a way to deal with a complex reality. Design as a strategic tool was first mentioned in 1984 (Kotler & Rath, 1984), but it was not until another 20 years later that there was any sustained discussion (cf., Fraser, 2007; Junginger, 2007; Martin, 2007a) with wicked problems (Camillus, 2008) and design thinking (Brown, 2009; Holloway, 2009).

The academic innovation area, anchored within engineering, and much occupied with statistical relationships and rational models of innovation (Johansson & Woodilla, 2009) was in need of more creativity. IDEO (www.ideo. com), the world’s largest design company, started to market itself as ‘an innovation company’ rather than a design company: its practical experience made it trustworthy, and its co-operation with Stanford University provided academic credentials. This, plus a view of a more complex rationality than strategy could offer, boosted a design interest in the innovation discourse (Bruce & Bessant, 2002; Feldman & Boult, 2005; Ward, Runcie & Morris, 2009; Stevens & Moultrie, 2011).

W ith some experience from design practice, we find it hard to think about innovation without including design. And it is from an innovation perspective that the popularity of ‘design thinking’ has to be understood, as here the concept captures the design practice and the way designers make sense of their task, and ‘a way of thinking’ that non-designers can also use, or as a source of inspiration (Johansson & Woodilla, 2009), rather than being limited to a professional group of designers as Schön might argue. And here might be one of the keys to the popularity of the concept just after the millennium.

As a result of Martin’s wide reach as a speaker and author, design thinking has been promoted as a useful process in different disciplines, including library administration (Bell, 2008), in hospitals (Uehira & Kay, 2009), legal practice management (Szabo, 2010), and HR (Birchall-Spencer, 2010).

A third use of the term ‘design thinking’ emanates from Richard Boland and Frank Collopy, who are academic researchers and professors in management information systems. Their inspiration came from architect Frank Gehry’s way of working on the new building for Weatherhead School of Management in Cleveland, and subsequently captured in a book of essays by scholars invited to a workshop to celebrate the opening of the building and reflect on ways managers are designers as well and decision makers (Boland & Collopy, 2004b). Boland and Collopy interchangeably use the concept ‘design thinking’ and ‘the design attitude’ (expectations and orientations one brings to a design project; 2004b: 9), thereby pointing less towards design as a way of working or a work process with distinct characteristics (as stressed in the IDEO version) and more towards cognitive characteristics (similar to Martin). Previously in organization and management theory, design had been considered at the organizational level (cf., Romme, 2003).

. Following a literature review concentrating mainly on the practicebased literatures, Hassi and Laakso (2011) concluded that the concept of design thinking in the management discourse consists of three elements: (1) a set of practices, (2) cognitive approaches and (3) mindsets. Rylander (2009) compares the two discourses of ‘design thinking’ and ‘knowledge work’ and considers ‘design thinking’ as practical knowledge, open-ended problems, a social identity of celebrating creativity, and visual forms of dominant sensemaking modes. These statements make the dominant management discourse of ‘knowledge work’ appear purely cognitive and lacking ‘embodied knowledge’ that is so important to designers. Kimbell’s (2011) critical review of the entire literature found three different ways of describing design thinking: (1) as a cognitive style of individual designers engaged in problem solving, (2) as a general theory of design as a field or discipline focused on taming wicked problems, and (3) as an organizational resource for businesses and other organizations in need of innovation. She proposes attending to the situated, embodied routines of designers and offers a useful way to rethink design thinking.

Design thinking can be seen as a translation of designerly thinking into a popularized, management version. As with any translation, nuances of meaning may be left out, and acknowledging these ‘left out dimensions’ is important academic work. We have found two dimensions that are strikingly omitted in translating ‘designerly thinking’ into ‘design thinking’

As social constructionists we regard an approach that begins with the question, ‘What is design thinking?’ as an essentialist trap. We do not believe that there is a unique meaning of ‘design thinking’, and accordingly we should not look for one. Instead, we look for where and how the concept is used in different situations, both theoretical and practical, and what meaning is given to the concept. In this article we have identified multiple discourses with distinctly different meanings and assumptions given to the concept ‘design thinking’: five scholarly discourses grounded within the design research area, and three discourses within the managerial area, of which two are grounded in management research and one in design practice.

The five different discourses with different epistemological underpinnings that we refer to collectively as a ‘designerly way of thinking’ each have both forerunners and followers that exist as parallel tracks. Anyone wishing to make an academic contribution therefore needs to have this pluralistic perspective in mind, because without recognizing the plurality and identifying the specific perspective, it is impossible to make an academic contribution.

[creativeculturesandcontext]

The language of new media Chapter 2 the interface Blade runner postmodern vision of the future, techo noir Macintosh modernist straight lines and simple interface this aesthetic is still here today GUI graphical user interface Like blade runner the mac GUI influenced many other areas of culture both graphically and conceptually Whorf sapir hypothesis non transparency of the code The interface brings with it strng messages of its own Work and leisure activities use the same GUI and so the difference is converged Like karl marx future citizen today people are doing a wide range of activities ranging from work and leisure. But tis dudes point is that they use the same few commands to do it all Two levels content and interface as opposed to content interface and content medium Assumes its independent f its medium Modernt artist assumed that content and form could not be separated Interface as art but then he said not as art because it can be changed? In new media content and interface are one and cannot be separated Pg 67 Pushing it with the links between culture and perception of hierarchies leading to hyperlinks…

[creativeculturesandcontext]

Buchanan

 about a conference in 1999 but published in 2001- end of post modernism according to tristam.

the North American social, cultural, and intellectual environment within which they have formed. The background for his ideas and the foundations of thought.

The origins of modern design research may be traced to the early seventeenth century and the work of Galileo Galilei

You are quite right. Indeed, I myself, being curious by nature, frequently visit this place for the mere pleasure of observing the work of those who, on account of their superiority over other artisans, we call “first rank men.” Conference with them has often helped me in the investigation of certain effects including not only those which are striking, but also those which are recondite and almost incredible. The beginning of the designers god complex!

Francis Bacon, who was Galileo’s contemporary, and subsequently developed in monumental fashion by Newton in the Principia in 1686. Francis Bacon, too, plays an important role in the origins of design research. Rooted in science these were the founders of physics we are taught at school today.

Design was not one of the fields institutionalized in our universities following the work of Galileo, Bacon, Newton, Decartes, and others. The reason is not difficult to discover. As the new liberal arts of western culture took shape in the fourteenth, fifteenth, and sixteenth centuries, design was not included, except in the general work of architecture and the fine art. Seen as a practice carried out by people with intuition and whom could not articulate the principles behind their work.

s. Some see no need for design research, and some see in the problems of design the need for research that is modeled on the natural sciences or the behavioral and social sciences as we have known them in the past and perhaps as they are adjusting to the present. But others see in the problems of design the need for new kinds of research for which there may not be entirely useful models in the past—the possibility of a new kind of knowledge, design knowledge, for which we have no imme- diate precedents. We face an ongoing debate within our own community about the role of tradition and innovation in design thinking.

[creativeculturesandcontext]

What is design?

According to Ettore Sottsass, making design has never been limited to “oiling the automation of function”, but it has always interpreted in a sensitive manner the real and perceived environment, the individual experiences, the social and technological settings characterizing the lives of human beings.

As the industrial chain has become fragmented, Design has become a monological reference for the project development and it addresses nowadays a multitude of possibilities, constantly renewing itself through the contribution of diversified knowledge. In line with the metamorphosis of contemporaneity, in a highly experimental research field, Design gets combined with Electronics and Materials Engineering, Biotechnologies, Natural Sciences, Social and Economic Sciences, Philosophy and Human studies in general.

https://www.listlab.eu/en/call-for-a-submission/

 “Design is the human power of conceiving, planning, and making products that serve human beings in the accomplishment of their individual and collective purposes.” Buchana

Design research a broad term for the process that designers use to better understand the underlying and sometimes hidden desires, needs, and challenges of end users, also known as the target audience.

 Understanding design as a shaper of worlds within which the political, ethical and historical character of human being is at stake, Design and the question of history

[creativeculturesandcontext]

Six decades – and six different roles for the industrial designer.

Mythical expert designer

Typical for the discourse at the time of the Milano Triennales was the emphasis on nature as a source of inspiration and the creation of the mythical designer. The designer had almost full control of the design process; the designer got an inspiration, started sketching, designed the object and only then was the potential object presented for production. The designer was the creator and the artist behind the object; and part of the attraction of the product came from this charismatic designer. Therefore it was beneficial to depict the designer as an eccentric character with special qualities. During the Milano Triennales Tapio Wirkkala was, for example, promoted in Italy as uomo naturale, the man who ate flowers and wrestled with bears in the morning5 .

This stage of design emerged from the maker crafts-people of the middle ages who ran cottage industry style practices. Apparently 1940s-50s

“Still today, the myth of the individualistic designer is an approach that is fairly easy to get through in press. People tend to be interested in other people, and by depicting an interesting designer-character behind a product it gets more attention than one without”pg 2 Good quote for explaining timelines. Virgil as a hero designer today

 THE DESIGNER IN A TEAM WITH MECHANICS AND MARKETING 1959-65

“If the industry perceived the industrial designers as artists, in the traditional area of applied arts industrial designers were seen as very technical.”

A weird cross between artist and designer when the first started working in team bcs. 1960s

 THE DESIGNER AS AN END-USER EXPERT 1970s

“In principle all work was driven by ergonomics, all the projects we did. In that way it was possible to distinguish from the old tradition of crafts, by considering how a product was to be produced and how it was to be used.”pg 3

Methods and science were the tools that were to be used in designing products and the aim was to design products that were based on user needs and proven measurements rather than on artistic intuition.

In the end it came to the situation where no-one dared to do anything before they were absolutely sure what they were going to do. At least at the department of industrial design there was a time when everybody feared to fail and to experiment that they just thought about these issues in theory and then the actual designs where never done but on paper.”26

Usability and end-user understanding then became the starting point for all successful industrial design28.

 THE DESIGNER AS A CO-ORDINATOR

The designers wanted to participate, not only in defining what a single product should do or how it should be designed but even on a larger scale of product co-ordination.pg4

Designers saw themselves as interpreters between both the end-user and the different units within a company, such as marketing and engineering; and their task was to co-ordinate. The goal was a uniform product portfolio, were all products that the company produced were to be perceived as coming from the same company. This evolved into the role of Design Managerspg4

Even though the industrial designers have aimed for the biggest possible profits for the company since the very early stages of the professional practice, it is only recently when this discourse of strategic design has become more pronounced. Capitalism and why design has failed

 THE DESIGNER CREATING EXPERIENCES

With the arrival of the nineties the importance of brands grew for companies. At the same time design and design management broadened to encompass not only the product portfolio, but the entire end-user experience of the corporate and its brand39. The industrial designer was to ensure this brand experience, or total experience design, for the customer.

[creativeculturesandcontext]

Manifesto

Update coming soon

[creativeculturesandcontext]

Week 10

Query of the week.

Why do designers seem to have a god complex?

The great recovery redesigning the future

We connected designers to those that might know answers and we quickly opened the discussion out to material experts, chemists, resource recoverers, policy makers, business developers, consultants, logistics managers and others who become part of the design teams. 

There are more than just designers designing the future of the world we live in.

We urgently need all designers to visit end-of-life facilities so they can see for themselves how we are blindly designing waste into the system by creating products that are complex and increasingly harder to deconstruct and recycle. Sophie Thomas Director of Circular Economy and Project Director for The Great Recovery.

In the best case scenarios we found products that could be down-cycled into lower grade materials or, whilst others had potential to be more ‘circular ready’, they lacked the economic case to convince business to commit. 

Change clearly needs to involve the financial aspect of living, at least while we are still in a capitalist society.

We learned that good design plays a critical role in the shift towards a circular economy. It significantly influences the way we make, consume and dispose of all products. We are convinced that waste is a design flaw

. Ideally we look to design as close to the user as possible on the inner loop – for longevity, but if that is not realistic or relevant to the product we move on to designing for a different business model: leasing or service. The next loop of remanufacturing sees broken components replaced and the product restored to its original state, whilst the outer loop of material recovery (or recycling) involves the complete breakdown of materials before some are restored to the manufacturing process. The model allows the designer to understand who are key knowledge holders for the extended design team.

Print colonialism

Maor identity was quite confused and they were unable to identify as one te iwi but colonialism kinda forced them to and the bible put some fckd ideas of racial hierarchy very similar to what british believed when colonising initially. Print for maori was never really partial and initially had strong undertones of colonialism that then became almost part of maori identity and so can you really say the later more finacially independant press was partial to colonialism?

My problem w this

When researching always start reading one narrative about design and said this was what was happeneing at the time then you read another and it says something completely different at the same time...

[creativeculturesandcontext]

Week 9

Readings for independent

“Dominant, Residual & Emergent” by Raymond Williams (1977)

“From Designing to Co-Designing to Collective Dreaming”

“Co-creation and the new landscapes of design

“Welcome to the Experience Economy” by B. Joseph Pine II and James H. Gilmore (1998) —

“Dominant, Residual & Emergent” by Raymond Williams (1977)

In class

Dominant, cars, holywood, n ike

Archaic, gladiators, public holidays

disruptive or alternative, skatings vs pyromania

reflect on design process for group

what didnt work

[creativeculturesandcontext]

Week 8

Research for text

Gilles Lipovetsky

"Only idiots never change opinion."[7]

He then proposed "hyper-modern," similar to post-modern but with a superlative and unstoppable meaning, focusing on new technologies, markets, and global culture.[2][5]

One of the toys of pseudo-modernism is retro-modernism – a revitalizing force of fetishtic nostalgia that recycles dominant fashions of pop culture. For some, this was considered a negative trend, because that direction of the zeitgeist was a confession that we no longer could create original work. But this confession was also a revelation that the dominant paradigm could no longer serve as a monolithic frame of values or

fashion, that diversity or tolerance no longer allowed the marginalization of any trend.

the actual reading

CEOs and politicians, architects, and artists alike are formulating anew a narrative of longing structured by and conditioned on a belief (“yes we can”, “change we can believe in”) that was long repressed, for a possibility (a “better” future) that was long forgotten.

the current generation's attitude—for it is, and very much so, an attitude tied to a generation—can be conceived of as a kind of informed naivety, a pragmatic idealism.

That is to say, humankind, a people, are not really going toward a natural but unknown goal, but they pretend they do so that they progress morally as well as politically. Metamodernism moves for the sake of moving, attempts in spite of its inevitable failure; it seeks forever for a truth that it never expects to find. If you will forgive us for the banality of the metaphor for a moment, the metamodern thus willfully adopts a kind of donkey-and-carrot double-bind. Like a donkey it chases a carrot that it never manages to eat because the carrot is always just beyond its reach. But precisely because it never manages to eat the carrot, it never ends its chase, setting foot in moral realms the modern donkey (having eaten its carrot elsewhere) will never encounter, entering political domains the postmodern donkey (having abandoned the chase) will never come across.

When they talk about meta axis they talk about the Whole or the individual. Can you talk abou the whole? or do different people thnk different and so its impossible to talk about the whole.

It's an attitude that says, I know that the art I'm creating may seem silly, even stupid, or that it might have been done before, but that doesn't mean this isn't serious. At once knowingly self-conscious about art, unafraid, and unashamed, these young artists not only see the distinction between earnestness and detachment as artificial; they grasp that they can be ironic and sincere at the same time, and they are making art from this compound-complex state of mind—what Emerson called “alienated majesty”.24

And Isaiah Berlin, one of our time's most adept critics of the Romantic worldview, observed that Romanticism, in short, is

unity and multiplicity. It is fidelity to the particular…and also mysterious tantalising vagueness of outline. It is beauty and ugliness. It is art for art's sake, and art as instrument of social salvation. It is strength and weakness, individualism and collectivism, purity and corruption, revolution and reaction, peace and war, love of life and love of death.32

Does this leave it as anything at all? How can it be everything at once

However, essentially, the Romantic attitude can be defined precisely by its oscillation between these opposite poles.33 Romanticism is about the attempt to turn the finite into the infinite, while recognizing that it can never be realized.

These buildings attempt to negotiate between such opposite poles as culture and nature, the finite and the infinite, the commonplace and the ethereal, a formal structure, and a formalist unstructuring (as opposed to deconstruction). Crucially, these attempts are unsuccessful as the buildings never so much seem to balance these distinct poles as oscillate between them.

In class

Why do we need so many different terms?

Diachroinies, the study of change of time.

[creativeculturesandcontext]

Week 7

[creativeculturesandcontext]

WEEK 6

[creativeculturesandcontext]

WEEK 5

“The Logic of History” – What is Post-Modernism? Charles Jencks (1996)

“Kaihono Ahua: Vision Mixer” by A.M.White (2013)

[creativeculturesandcontext]

WEEK 4

Independent

Understanding media - MARSHALL McCLUHAN

Hey if you do read these notes would like to add that this writing reminded me of that They Live by ray Nelson. Is the media we see the true message? Sorry I didn’t add this in class

A lightbulb is not a lightbulb. There is no media in a lightbuld but say if it lights up a message then there is a media.

But… The medium is the message and so the lightbulb is the medium because without it our culture would be very different.

Shakespeare is hard to understand, maybe that’s why he seems so deep..

In other words, cubism, by giving the inside and outside, the top, bottom, back, and front and the rest, in two dimensions, drops the illusion of perspective in favor of instant sensory awareness of the whole. Cubism, by seizing on instant total awareness, suddenly announced that the medium is the message.

 Cardinal Newman said of Napoleon, “He understood the grammar of gunpow-der.” Napoleon had paid some attention to other media as well, especially the semaphore telegraph that gave him a great advantage over his enemies. He is on record for saying that “Three hostile newspapers are more to be feared than a thou-sand bayonets.”

Media has power, propaganda and nzi Germany used media to outcast jews.

 kind of massacre of the innocents. Instagram?

 “Their I.Q.’s were much higher than usual among political bosses. Why were they such a disaster?” The view of Rowse, Snow approves: “They would not listen to warnings because they did not wish to hear.” Being anti-Red made it impossible for them to read the mes-sage of Hitler. But their failure was as nothing compared to our present one. The American stake in literacy as a technology or uniformity applied to every level of education, government, industry, and social life is totally threatened by the electric technology. The threat of Stalin or Hitler was external. The electric technology is within the gates, and we are numb, deaf, blind, and mute about its encounter with the Gutenberg technology, on and through which the American way of life was formed. It is, however, no time to suggest strategies when the threat has not even been acknowledged to exist.

Uhh ohhh……

The “content” of writing or print is speech, but the reader is almost entirely unaware either of print or of speech.

I experience this whenever a story is on even if it’s a kids one  I zone in on it and forget about world, I don’t notice any media w words and stuff

 Subliminal and docile acceptance of media impact has made them prisons without walls for their human users. As A. J. Liebling remarked in his book The Press, a man is not free if he cannot see where he is going

 The medium is the message

Innumerable confusions and a profound feeling of despair invariably emerge in periods of greattechnological and cultural transitions. Our "Age of.Anxiety" is, in great part, the result of trying todo today's job with yesterday's tools-with yester-day's concepts.

 10" In the study of ideas, it is necessary to rememberthat insistence on hard-headed clarity issues fromsentimental feeling, as it were a mist, cloaking theperplexities of fact. Insistence on clarity at allcosts is based on sheer s u p e r s t i t i on as to t he modein which human intelligence functions. Our reason-ings grasp at straws for premises and float ongossamers for deductions."—A. N. Whitehead, "Adventures in Ideas."

The "child" was an invention of theseventeenth century; he did not existin, say, Shakespeare's day. He had, upuntil that time, been merged in theadult world and there was nothing thatcould be called childhood in our sense.

This feels v wrong to say how would they know???

Media, by altering the environment, evoke in usunique ratios of sense perceptions. The extensionof any one sense alters the way we think and act—the way we perceive the world.Whentheseratioschange,men change this be deep stuff kindda facts tho

 The discovery of the alphabet will create forget-fulness in the learners' souls, because they will notuse their memories; they will trust to the externalwritten characters and not remember of them-selves . .. Y ou give your disciples not truth but onlythe semblance of truth; they will be heroes of manythings, and will have learned nothing; they willappear to be omniscient and will generally knownothing."-Socrates, "Phaedrus"

Socrates was boss and there are some weird as images in this book..

  Ways of seeing John Berger

 Women troug the lens of dudes w the male gaze is next level. Its everywhere. I mean strip clubs exist. “offereing up her feminity as the surveyed..”

 Im glad there was example of legitimate nude painting where the female was naked and not nude. Nakedness being the natural state and nude being sexualised.

 Good docco made me question everything especially the lst bit..

Draft work:

Design for the Real World

Victor Papanek

  INTRO

Design for the real world is a book written by Victor Papanek about industrial design. In the book Victor Papanek calls out the design establishment for mass negligence and designing for the minority.

 The book is split into two parts the first titled “Like it is” which focuses on the at the time current design world of 1972 highlighting the inadequacies with business as usual. The second Part is titled “How it could be” and digs into specific design examples of what designing for the world instead of profit looks like and finishes with a projection of what the world could look like if designers starting practicing social design for the betterment of humanity.

 Victor Papanek, although a designer himself did not make it a secret that he did not think highly of the design world, especially industrial design as it was in the 1970’s.  He used the book to call out designers who are partaking in “Kleenex Culture” and had a “preoccupation with making things pretty”. This is very clear in chapter 8 after highlighting five myths that underly the current design profession as it was. Followed by 6 areas where design has not yet been focused and where social good would be inherent in the work of the designer. He then ends the chapter with “These are six possible directions in which the design profession not only can but must go if it is to do a worthwhile job. So far the designers have neither realised the challenge nor responded to it. So far the action of the profession has been comparable to what would happen if all medical doctors were to forsake general practice and surgery, and concentrate exclusively on dermatology and cosmetics.” (pg. 184) Sentences like this that very bluntly called out bad behaviours and sometimes even naming specific industry leaders who were promoting profit seeking design for the privileged are throughout the book. What effect this has on book

Modernism

  Sustainability and social responsibility Mana Toanga.

—the book joined a groundswell of important critiques of modernism and postwar excess in architecture, design, industry, and corporate America. https://www.metropolismag.com/ideas/rereading-design-for-the-real-world/

  Looked at the design world and didn’t really like what he saw.

“has been comparable to what would happen if all medical doctors were to forsake general practice and surgery, and concentrate exclusively on dermatology and cosmetics.” Before tree of knowledge

  How the design wrld reacted.

“Form follows function,” Louis Sullivan’s battle cry of the 1880’s and 1890’s, was followed by Frank Lloyd wright’s “form and function are one.” But semantically all the statements from horatio Greenough to the germn Bauhaus are meaningless. The concept that what works well will of necessity look well, has been a lame excuse for all the sterile, operating room like furniture and implements  of the twenties and thirties. A dining table of the period might have a top, well proportioned in glistening white marble, the legs carefully nurtured for maximum strength with minimum materials in gleaming stainless steel. And the first reaction on encountering such a table is to lie down on it and have your appendix extracted.

The function complex is introduced showing the dynamic actions and relationships that make up design.

[creativeculturesandcontext]

Week 3

Independent

Talks about the dissconnect between the source communities ( maori) and the museums that operate from a western perspective.

“ . Our treasures are much more than objets d’art for they are living in every sense of the word and carry the love and pride of those who fashioned them, handled and caressed them, and passed them on from generation to generation as taonga-tuku-iho. “ pg 195

Te papas deffinition

Broadly speaking the mana taonga concept as practiced by Te Papa, recognizes the spiritual and cultural connections of taonga with their people through the whakapapa of: i) The creator of specific taonga; ii) The ancestors after whom the taonga is named; and iii) The whanau, hapū or iwi to whom the taonga is an heirloom

. In a practical sense, mana taonga provides iwi and communities with the right to define how taonga within Te Papa should be cared for and managed in accordance with their tikanga or custom.’ (Retrieved from Te Papa Intranet)

Mana Taonga in essence activates this principle by recognizing that there are real living relationships that exist between the taonga and their descendant source communities. This ensures that cultural recognition, values and knowledge systems are acknowledged. Underpinning the concept of Mana Taonga is the recognition of living cultures and by association the importance of creating meaningful relationships with the communities and peoples from whence the objects and collections originate from and who identify with them.

Other definitions

[creativeculturesandcontext]

Week 2

Zoom

An artefact of design/art. Summarise why it might be remarkable or valuable. You must have a visual representation of the artefact.The designer responsible. Summarise them or their work on the artefact. Should you include a photo or representation of the individual?Have citations and or/sources for your workPlease do attempt this study on more than one artefact. Get enough on a screen to talk about. Any notes will become the basis for Assignment

Week 2

  Duncan Phyfe

https://www.britannica.com/biography/Duncan-Phyfe

Scottish-born American furniture designer, a leading exponent of the Neoclassical style, sometimes considered the greatest of all American cabinetmakers.

VS

Jean Prouve

Furniture design Modernist

“Jean Prouvé excelled in architectural design, structural design, industrial design and furniture design. His talent in transferring industrial manufacturing technology to architecture, without sacrificing aesthetic qualities” . https://www.yatzer.com/Jean-Prouve-Passionhttps

Features such as the functionality and coherent fabrication that the designer applied to his furniture often destined for the public sector are also reflected in his architectural designs where clever mechanisms and solid structures allowed for easy assemblage, modification, and dissasemblage

://www.vitra.com/en-at/about-vitra/who-we-are/designer/details/jean-prouve

The truth of the structure is very obviious compared to phyfe. the steal is exposed and part of the aesthetic. There is also no extra finisheing or anything just the simple materials dictating the design.

He was also one of first to start prefabricated architecture in the form of these big metal beams

Note. Didnt get time to present in class but had sokme solid points ;)

Ways of seeing John Berger

 Women troug the lens of dudes w the male gaze is next level. Its everywhere. I mean strip clubs exist. “offereing up her feminity as the surveyed..”

 Im glad there was example of legitimate nude painting where the female was naked and not nude. Nakedness being the natural state and nude being sexualised.

 Good docco made me question everything especially the lst bit..

Victor papanek

The word Ujamaa, as a simple way of saying 'we work together and help each other without colonialism or neo- colonial exploitation'

Super honest look at industrail design and how bad it has been for the environment in the past.

Super interesting stuff

THE FOUNTAIN HEAD

He looked at the granite. To be cut, he thought, and made into walls. He lookedat a tree. To be split and made into rafters. He looked at a streak of rust onthe stone and thought of iron ore under the ground. To be melted and to emergeas girders against the sky.These rocks, he thought, are here for me; waiting for the drill, the dynamiteand my voice; waiting to be split, ripped, pounded, reborn; waiting for theshape my hands will give them.

I want to be an architect, not an archeologist. I see no purposein doing Renaissance villas. Why learn to design them, when I’ll never buildthem?"

Moving forward

Look," said Roark. "The famous flutings on the famous columns--what are theythere for? To hide the joints in wood--when columns were made of wood, onlythese aren’t, they’re marble. The triglyphs, what are they? Wood. Wooden beams,the way they had to be laid when people began to build wooden shacks. YourGreeks took marble and they made copies of their wooden structures out of it,because others had done it that way. Then your masters of the Renaissance camealong and made copies in plaster of copies in marble of copies in wood. Now herewe are, making copies in steel and concrete of copies in plaster of copies inmarble of copies in wood. Why?

Rules?" said Roark. "Here are my rules: what can be done with one substancemust never be done with another. No two materials are alike. No two sites onearth are alike. No two buildings have the same purpose. The purpose, the site,the material determine the shape. Nothing can be reasonable or beautiful unlessit’s made by one central idea, and the idea sets every detail. A building isalive, like a man. Its integrity is to follow its own truth, its one singletheme, and to serve its own single purpose. A man doesn’t borrow pieces of hisbody. A building doesn’t borrow hunks of its soul. Its maker gives it the souland every wall, window and stairway to express it.""But all the proper forms of expression have been discovered long ago.""Expression--of what? The Parthenon did not serve the same purpose as its woodenancestor. An airline terminal does not serve the same purpose as the Parthenon.Every form has its own meaning. Every man creates his meaning and form and goal.Why is it so important--what others have done? Why does it become sacred by themere fact of not being your own? Why is anyone and everyone right--so long asit’s not yourself? Why does the number of those others take the place of truth?Why is truth made a mere matter of arithmetic--and only of addition at that? Whyis everything twisted out of all sense to fit everything else? There must besome reason. I don’t know. I’ve never known it. I’d like to understand.

Greatest monolog i have ever read!

Definitely going to finish the book!

[creativeculturesandcontext]

Week 1

An artefact of design/art. Summarise why it might be remarkable or valuable. You must have a visual representation of the artefact.

The designer responsible. Summarise them or their work on the artefact. Should you include a photo or representation of the individual?

Have citations and or/sources for your work

Please do attempt this study on more than one artefact. Get enough on a screen to talk about. Any notes will become the basis for Assignment 1

Looking at tRuth in design