#CCDN331

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Manifesto Visualisation for CCDN331_P3:

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FINAL -CRITICAL WRITING

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Urban Expendabilia - Critical Summary

Urban Expendabilia is derived from the idea that the architecture of a city is influenced by the collision of expendability and scarcity. The practice of designing and constructing buildings is an assimilation of contradictions (Parnell, 2012). For instance, our ‘throwaway society’ specifies, and fixates on, the need for new finishes, details and products. Yet this leaves architects and designers struggling to obtain the minimal environmental impact that we should value deeply, but so often choose to ignore. Balancing the aesthetic design of a building with its functional performance is an issue on the forefront of the architectural profession, and this critical perspective aims to capture, and contrast, an opposing side to our superfluous consumer culture.

There is a focus on the importance of durability and increasingly longer life spans in the realm of architecture and design (Page, 2014). Due to the “dependence on an economy and consumerist society that demand the exploitation of resources” (Parnell, 2012), expendable architecture and design has now become common practice. In observations made during my flânerie around my city, I noticed a vast range of broken, neglected, and rundown structural elements. This contrasts with our societal structure that continues to endorse the immediate replacement or repair of products that are no longer brand new, or in full working order. However, the state of these structures is only temporary. In time, they will be replaced, renewed and overtaken by our desire for what is most recent and innovative.

References

Parnell, S. (2012), The Collision of Scarcity and Expendability in Architectural Culture of the 1960s and 1970s. Archit Design, 82: 130–135. http://dx.doi.org/10.1002/ad.1443

Page, T. (2014). Product attachment and replacement: implications for sustainable design. International Journal of Sustainable Design (IJSDES), 2(3), 265–282. http://dx.doi.org/10.1504/IJSDES.2014.065057

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CCDN331 Project 4 Documentation

Manifesto

I have chosen to manifest two points from my manifesto, Learn and Participate. These two points of my manifesto summarise my manifesto as a whole. I believe that design has a significant influence on society and society has a significant influence on design. Designers have a responsibility to use this influence for social good. Design is for the people and designers must understand the people they are designing for because the people are the experts.

Learn

You should always be learning, especially about people. Learn about the people you are design for. Learn about what problem you are designing a solution for. Learn from failure and success, these can be your own failures and successes or the failures and successes of others. Designers have been adopting different techniques from different fields to learn about the people they are designing for and to learn about the problems they are designing a solution for, such as ethnographic techniques from the field of anthropology.

Participate

Design is for the people and requires the participation of the people. The people are the experts, not just the designers. No one understands the problem better than the people who live with the problem and no one understands a field better than the people who work in that field. Anybody and everybody have some expertise offer.

[twiggypear-blog]

CCDN331 Creative Manifesto Iteration

Currently I am exploring the wellington billboard and advertisements through photography and attempting to capture the misinterpretation they cause. I am still currently open to two options to further, showing this subject through street art or through another means such as advertisements. For the display I plan on having 9 final photos displayed in a 3×3 grid format expressing the ideas of the writen manifesto visually

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CCDN331 Draft Manifesto

Design is as design does

Design should be made to last

Materials should be a top consideration

Quality over quantity

Teach sustainability early (reword)

Consider what is left behind

What we can’t see matters too

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Critical Writing

CCDN331: PROJECT THREE

Critical Essay

Grace McIldowie, 2017

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CCDN311_Summary_Martin_Kyle

CCDN331 - ‘The Summary’ Kyle Martin

“The concept of the flâneur, the casual wanderer, observer and reporter of street-life in the modern city, was first explored, at length, in the writings of Baudelaire” (Baudelaire, 2013). The critical perspective of a “New City” was moulded by two different perspectives of the ‘Flaneur’. The first perspective originated from Baudelaire, which was “an aesthete and dandy, wandered the streets and arcades of nineteenth-century Paris looking at and listening to the kaleidoscopic manifestations of the life of a modern city” (2013), and the second perspective which originated from William Helmreich (2013) in his book ‘The New York Nobody Knows: Walking 6,000 Miles in the City’. Helmreich’s idea was to walk down streets/alleyways to view observe and to “stroll leisurely and engage people in conversations about how they feel bout where they live, what they do, and how they perceive he place is changing” (2013). I took the perspective of walking down areas where most was hidden and that people would consider ‘imaginary’ and that people wouldn’t think existed in their “New City”. But I took Baudelaire’s perspective of wandering, looking and listening to the surroundings of the city and took photos of something that interested me about our “New City”. I did have a ‘gamification’ lens though with this perspective, which was just to look up. The reason behind this lens was just simply to observe our upper surroundings that are least viewed and that are unknown to some. The reason I stuck to the idea of a “New City” was because I come from a smaller town in the South Island called Blenheim, and when I came to Wellington I was expecting it to be a Utopian sort of landscape where all the buildings were new and updated, but instead I found that the buildings themselves were either half finished or still cracked and broken.

Bibliography:

Baudelaire, C. (2013). Baudelaire, Benjamin and the Birth of the Flâneur. Retrieved from: http://psychogeographicreview.com/baudelaire-benjamin-and-the-birth-of-the-flaneur/

Helmreich, W. B. (2013). The New York nobody knows: Walking 6,000 miles in the city. Princeton University Press. Retrieved From: https://aeon.co/essays/how-i-learned-to-love-new- york-city-stride-by-stride

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CCDN331

Hi guys! I am Natasha Joe and this is my first blog post for this course.

We formed our groups and established the basic expectations for this course. My group (Any Su, Natasaran Choihiran and I) brainstormed ideas for this project - Theory in Motion.

We decided on our topic - Design connects people - and after discussion we would like to support the argument. 

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Final Documentation

http://www.pdf-archive.com/2016/06/01/ccdn331-documentation-cyma-parbhu/

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The manifestation of my manifesto.

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This environment’s Evolutionary state Consumes the finite

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CCDN331-Project 4 Draft

Design for Social Innovation Manifesto

Design is the creation of a product, service, and/or idea and social innovation is a solution to a social problem, such as poverty, health, sustainability, etc. Design has a significant influence on society and designers can use this influence for good.

-Create for the people not for the individual

               -designers are focusing on consumption and profit

               -rather than focusing on societies most important problems

               -same process: different goal

-Learn about people

               - “you cannot understand good design if you do not understand people; design is made for people” (Dieter Rams)

               -Participant observations

               -Interviews

-Collaborate with designers and non-designers

               -users

               -scientists

               -anthropologists 

-Challenge the status quo

-Share your design with the people

               -the solution to any problem in society requires the participation of the people

               -provoke discussion or action

…

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Manifesto CCDN331

Gamifications impact on design thinking is creating an impassable stage in design practice as the inclusion of ‘playful design’ in many projects is continuously limiting the emotional impact of the design to only one field.              

 Photography through Design

·         Has benefited hugely through capturing different cultures around the world and giving an insight into how another individual experiences life (similar to that of ethnographic research).

 Inspire to Interpret

·         The key to inspiration is often through the captured images of another’s work as many designers in the 21st century find something in another’s work that was not originally considered, often through reinterpretation. McDonnell explains that:

“From a perspective which seeks to understand design as a social activity, taking place in the natural setting of design practice from which it cannot sensibly be separated, it is clear that empirical studies must be the primary source for formulation and evaluation of design descriptions and models of the design process.” (J, McDonnell. Design studies: Descriptive models for interpreting design. 1997)

               Flaws within Design?

·         Through the connection gamification is establishing in the workplace through photography, it is creating multiple points in which it could create flaws in design practice. Zichermann states:

“Gamification may be a new term, but the idea of using game-thinking and game mechanics to solve problems and engage audiences isn’t exactly new”. (G, Zichermann. Gamification by design: Implementing game mechanics in web and mobile apps. 2011)

 Playful Design as an Aid, or Overuse?

·         ‘Playful design’ is creating similarities with gamification through the growth of design thinking. Gamification can be seen increasing throughout many aspects of the modern city culture, while it can be used as a motivating tool, there must be a stage in where it becomes an overuse? Kapp explains that:

“A topic like gamification does not remain static, it is continually evolving as technology and our understanding of how gamification can foster learning and collaboration continue to grow”. (K.M, Kapp. The Gamification of Training: Game-Based Methods and Strategies for Learning and Instruction. 2012)

 Marketing and Gamification

·         Through the lense of photography the use of gamification as a marketing tool is at large risk of becoming a negative impact on design practice. This is due to the combination of misunderstood design strategies (such as gamification) being used as marketing techniques. Huotari and Hamari describe that:

“Gamification is a form of service packaging where a core service is enhanced by a rules-based service system that provides feedback and interaction mechanisms to the user with an aim to facilitate and support the users’ overall value creation.”

     Bibliography

 Zichermann, G. (2011). Gamification by design: Implementing game mechanics in web and mobile apps. Retrieved from https://books.google.co.nz/books?hl=en&lr=&id=zZcpuMRpAB8C&oi=fnd&pg=PR7&dq=gamification+and+design+thinking&ots=UtT945s63d&sig=LQRJJ9unSTM5YQF-jgticRge2_w#v=onepage&q&f=false

 McDonnell, J. (1997). Design studies: Descriptive models for interpreting design. Retrieved from http://www.sciencedirect.com/science/article/pii/S0142694X97000124

 Kapp, K. M. (2012). The Gamification of Training: Game-Based Methods and Strategies for Learning and Instruction. Retrieved from https://books.google.co.nz/books?hl=en&lr=&id=M2Rb9ZtFxccC&oi=fnd&pg=PR12&dq=gamification+&ots=JwQg303BaK&sig=KLM2jJHaXlhTTUnAtfIpq9WQQHI#v=onepage&q=gamification&f=false

 Huotari, K., & Hamari, J. (2011). Gamification from the perspective of service marketing. Retrieved from https://www.researchgate.net/profile/Kai_Huotari/publication/267942356_Gamification_from_the_perspective_of_service_marketing/links/56274fbb08ae4d9e5c4e792d.pdf

[mikaylamaidmentccdn331-blog]

CCDN331 Literary review summary- Initial Handin

William Helmreich, in his article Modern-day flâneur, put the concept into a modern-day context, by stating “it’s the journey that’s the destination” (Helmreich, 2013).  This approach will guide my project which is based on a “journey” of discovery down Cuba Street. I will be analyzing the environment from a contemporary and historical perspective and aim to capture the unique features within a number of venues. These in combination will I hope, reflect the essence of the street and in doing so highlight the important roll it plays within the city as a whole.

Reference:

Birkerts, S. (1982). Walter Benjamin, Flâneur: A Flanerie. The Iowa Review, 13(3/4), 164-179. Retrieved from http://www.jstor.org/stable/20155922

Helmreich, W. (2013). Modern-Day Flâneur.  Princeton University Press, an Aeon Partner.  Retrieved from https://aeon.co/essays/how-i-learned-to-love-new-york-city-stride-by-striderticle

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