Designabroad

During our collaborative project thus far, our group produced various pieces of writing. After reading three assigned articles, we each came up with sets of corresponding questions. Then, each week we came up with a writing assignment to be completed and discussed by our next meeting. For our first assignment, we each gave someone in the group a song to use as inspiration for a collage; we then wrote about the assignment. The next week, we each wrote about what we thought design would be like in the future. Following that, we wrote about ourselves as designers in the future. And finally, we each selected a piece about the future of design, in any discipline, and wrote about them. Each week, we took a small selection from someone else in the group's writing that we stood out to us. We rotated whose writing we took excerpts from each week so that we got to work with everyone in the group and better understand one another. Our multi voice essay, below, is a melange of our excerpts pieced together to create a cohesive piece of writing. 

Cross Culture Literary Collage on Design

In the future, and the future is now, I think that the design process will no longer focus on the end result. I like the idea that what was once considered fiction is in fact the reality of today, but I wonder, are we shaping our dreams or are we dreaming beyond our capabilities?

The most important thing to remember when discussing design, both at the present time and in the future, is to remember that design is used to solve problems and that now more than ever it’s about the process of storytelling, not just the story itself. It will no longer think in absolutes. Instead, it will create principles, set guidelines, and let its audience act upon it as they please. It will be transformed into a way of thinking where we are no longer telling people what, how and where they can produce, but creating worlds that can be manipulated and experienced from a personal perspective.

The designer of today has to deal with cutthroat competition because as the market expands globally work can be done faster and at lower costs. Many things have changed in so little time and the competences required of a designer are wider than ever. Essentially, we (as designers) are products who have to find a place in the market. Not only has the design practice extended its purposes, for instance to mobile application design, but is has also extended the way we communicate. Because of this, the way we perceive and give information has changed.

Soon the designer will serve a great purpose if he is able to reinvent himself in order to accommodate the new ways of design. He should be a thinker, a change maker and a person that arrives at creative solutions, not only in the visual configurations but also in the ideas behind them. He should be like an architect, able to define a structured design process in order to achieve an original output. He will be hired for his critical knowledge and not just for his technical dexterities. Our culture as it exists now will be completely changed; new cultures will just show the development of mankind and the world we live in. They will be a representation of our intellect and progress.

When I think about myself as a designer in the future, I wonder if I will be able to refuse to do things that I don’t like or if I’ll have to surrender to the logic of the market. I want to be a positive designer. I feel comfortable saying that in the future we will need to look and care for the place we live in and the people that surround us in more serious ways, otherwise the impact will negatively affect all of us. In order to do this, the most valuable thing I should know is how to solve problems. It’s not only about graphic design but about paying more attention to all disciplines in order to find where your interests lie and which interests you want to develop in the future. The world is changing and we need to adapt to what needs to be done right now. While our culture as it exists now will be completely changed, new culture(s) will just show the development of mankind and the world we live in. They will be a representation of our intellect and progress.

Collaborative essay composed of abstracts from our previous essays on design. Some edit was performed to unify the whole piece remaining honest to the voice of each author/designer. The complexity of ideas makes this written composition into a Dada-form of expression that respects different points of view.

Mad Dutch Disease

Emilia:

I believe Dutch Design is very important, especially in understanding the evolution of Graphic Design and highlighting the importance of form. Nonetheless, don't you think that the rhythm and "rules" of proper forms of communication defined by Dutch Designers have actually killed creativity and experimentation? Do you think dutch design should be broader and include other forms of communication than the ones that have already been proven to work?

In, lets call them: “developing” countries. Culture is of great influence in the development of new designs. We often think that the influence of other philosophies or other tendencies will damage our cultural background and authenticity. Do you think this is at all true? What could Dutch design do in order to enhance cultural authenticity rather than impose a formal way of thinking towards design?

Jackie:

The author states "You rarely miss an underlying rhetoric of social value, no matter where you scratch the surface of Dutch design."  But then later he says of Dutch Design in the 80's and 90's, "Working from a palette of tried-and true elements — brightness, offkilteredness, geometric abstraction, angularity — Dumbarism became a kind of brand in itself that could be applied to anything, anywhere...basically a systematic modernist approach to corporate identity peppered with a sprinkling of playful design elements...The effect of Dumbarism and the frenzy of identity designing during the '80s and '90s seemed to make Holland one continuous sea of logos.'  This does not suggest any redeeming social value.  What is more characteristic of Dutch Design today, social conscience or commercial branding?

America is incapable of putting resources into design and actually cites WTC.  If we look at the oculus at the World Trade Center Transportation Hub and even the Vietnam memorial, we can see that they are both incredibly indulgent; way over the top in design over function. How does he account for these "exceptions" given American isn't given a design budget/doesn't regard design in any way comparable to that of the Dutch?

Marcello:

The author states that “in America, design is always considered suspect: effete, luxurious, intellectual.” Furthermore, he adds “[Americans] are suspicious of modernity. Modern smells expensive.” Where does this strict relation between modern(=good) and expensive come from? Why is design perceived and considered a business asset rather than a cultural one? Is low budget synonymous of poor design? Is it a constant or just a trend that will change in the future? How?

Dutch Design was ruled by two important figures: Wim Crouwel and Jan van Toorn. The first one advocating neutrality, the second one hindrance. Nevertheless both positions led to a peculiar “house style” on both sides. Where lays the line between the designer’s statements? Does it (still) make sense to pretend to be neutrality? Is the choice of non having a style a style in itself? What the relationship between designer and client should be in the future?

The appearance of influence by Jon Kolko

Emilia:

With globalization most stereotype boundaries have gone through a transformation and they are no longer so limited. In the future, do you think society at large will become even more homogenize? and if so, how do you think this is going to affect design. Even now, design is pretty much the same everywhere in the world and we have all grown accustomed to a visual language. Do you think Design will break this pattern?

I have lived under stereotypes my whole life, and although I don't consider them a bad thing, I do think that generalizing about a person based only on stereotypes is obviously a very short minded way to see life. I just can't help wonder if people that look a certain way, know why they look like that what their look meant in another time or place. Do you think that if people were more educated on the history and development of let's say "garments", they would dress differently?

Marcello:

Appearance does count. It’s a matter of fact. It’s also really important how a designer presents himself and his works. I am a regular guy after all and many times I see some of my colleagues dressed up like “designers” or “creatives”. I feel they are pretending to fit a stereotype and wearing a costume to sell their competences. In the same way many project are so well presented and polished seemingly to cover up lack of content. How much does appearance matter t in promoting yourself and your work? Should it be an equation of form equals function? What is the role of promotion and self-branding in the design industry?

Sara:

Appearance does count… Agree! Designer nowadays can be also a thinker, or all kind of typologies that come across designing something, but aesthetics count. And more than in other professions, persons now look to designers and their appearance and they evaluate their style and will try to imagine how their works look. It’s a relationship between the person and the field of work, that comes somehow naturally but still is in my opinion a stereotype and a false way of judging. What I believe is one of the great things of being a designer is that you are allowed to be  creative in your work and as well in the way you dress, meaning you have no codes to follow or no expectations to fulfill. All the rules that are made by the culture or society, can still be and should be not relevant. As a designer I believe that there is more power in the aesthetics of your work, then in your personal look.

Hao Wu:

Appearance is what you use to present yourself, your works, your talent etc. but it is also an important part when communicating with others. In some ways, it is a tool used for communication. I think the people hold this view is also a part of culture (diversities). Since the globalization is a trend that happens in all companies in this world, what design can do in this situation?  I think you can have tattoos if you like, it doesn’t matter. What does matter is how you can have the better communication even you are under the stereotypes. How can you solve this problem in this situation? and just like Macrello said: what is the role of promotion in the design industry?

Jackie:

The author talks about how he was stereotyped and dismissed because of his appearance. Stereotypes are not always bad and stereotyping can be a very effective tool in understanding cultures and categorizing information. Although the author feels victimized by the category he was placed into, he should be aware that by forming his appearance as he did, he was joining a category of everyone that preceded him in doing that. The collective characteristics of all the people in his "category" helped to form the perception of the marketer. Is it necessary for designers to more consciously find a balance between creativity and power?

Liz Danzico - Frames- Notes on Improvisation and Design

Emilia:

Do you think that this sort of improvisation (The one is spoken in the video) could potentially damage the analysis, construction and planning of products in design. If we leave everything in the hands of the user, does it mean our profession will become obsolete? Even now, with all the different software, our specialty as graphic designers has become sort of obsolete, we are approached more to produce internet content more than anything else. Do you think graphic designers will evolve into something different? will we continue to consider ourselves graphic designers? or visual communicators?

Based on this theory, how would you include this concept of improvisation into our collaborative essay? If this course is based on speculative design, and trying to understand the mindset of the audience in the future, how could improvisation help in this specific assignment?

Marcello:

Designing is often equivalent of planning. There are deadlines and delivery to be respected. All the design process is meticulously organized in system. Every phase is planned in advance. Does improvisation find room to take place in this rigid structure? Should we design a flexible structure to allow the unexpected to happen? Would the final output benefit of it?

Sara:

How can the designer give space to improvisation without losing the meaning of the message, or, how can one be sure that the message will not be lost or confused?

In which ways can the designer plan his design and the collaboration of the consumer and still leave space for the so called improvisation?  How can he combine both?

I think is interesting the metaphor with the creativity of the jazz players and the consumers. Is really interesting concept as well the idea of the planning behind it. Another point I find interesting is the balance between both things, that also defines if you are restraining the consumer,  if you are loosing information to the consumer, or if you are allowing him to participate and still have enough information  (that is the ideal situation in this point of view).

Should the consumer have more "influence" than the designer? (diagram in  the video)

Jackie:

Buckett Mufson gives a detailed description of the technologies used throughout this specific virtual reality experience. He describes the makeup of the food and the 3D printing method used to create it. He also explains the use of the virtual reality headset and aromatic diffuser that is used to enhance the overall experience. Finally, he includes the health benefits that this virtual experience can provide as new emerging technology at the intersection of healthcare and design.

The idea of being able to print food in the comfort of your own home is both exciting and frightening. With life progressing at such a fast pace and the cost of living rising exponentially the time and money that could be saved with the luxury of personalized food printers is an amazing concept. There would not only be more time for people to spend being productive but also more time for people to do things like exercise, socialize, enjoy their hobbies and have peace of mind. 

This advancement, however, may come with some serious repercussions.  First and foremost, cooking traditions may entirely cease to exist. People won't learn how to cook anymore and may become completely reliant on food technology. These changes would create even bigger generation gaps as well as the loss of cultures. 

Culture may change completely, which, depending on your viewpoint, may be either good or bad. If these changes take place, the restaurant industry would be totally reinvented, as would the food industry in general. While our culture as it exists now will be completely changed, new culture(s) will just show the development of mankind and the world we live in. They will be a representation of our intellect and progress.

http://www.popsci.com/technology/article/2009-11/intel-wants-brain-implants-consumers-heads-2020

http://www.popsci.com/archives-designing-products-aliens

"In spite of the opinions of certain narrow-minded people, who would shut up the human race upon this globe, as within some magic circle it must never outstep, we shall one day travel to the moon, the planets, and the stars, with the same facility, rapidity, and certainty as we now make the voyage from Liverpool to New York!" Jules Verne

I'm always in awe of visionary thinking, that dares to question our current standards and that envisions multiple possibilities of what might be. Writers like Jules Verne, already had an idea of a different world and what the future would behold. I like the idea that what was once considered fiction, is in fact a reality today. So are we shaping our dreams or are we dreaming beyond our capabilities?

When I read articles like these on Brain Implants, although farfetched, I read it with an open mind as per Jules Verne's advisement. And I dare to think that in fact, things like brain implants will be a possibility in the future. It makes me think of inventions that exists today; such as the remote control, or that I can command my television to turn the volume down, or that with a simple clap all of the lights in the house will be lighten. I think of what it might have been when people started installing light bulbs in their houses for the first time, or the first time bones could be seen in an x-ray machine. How impossible did all of those things seamed and how normal they have become. 

The problem about speculating about the future, is not whether these things will happen or not, but how we will behave once they do. In this particular case, how will Brain implants change us? What will happen to our verbal communication? Will we have more time to do other things, or will we become lazy? The idea is not to think of what might come, is to envision and prepare for a possible future to design the world we want to live and not the one imposed. 

I for one, would love to open my house door with just a thought, instead of having to endure 3h or wait, until a charitable roommate comes to open the door because I've forgotten my keys. I mean, who wouldn't like that? the simplicity that could come with brain implants is wonderful. But, is it?

I've already stablished that Brain Implants could happen, but as a homo sapiens I have to wonder what will be the consequences of such inventions, and as a designer I it is my job, my duty and my obligation to study these new human communications so I can create and develop designs appropriate of such times that have value and meaning.

So, for practical reasons, I'll give it a twist: What if, Brain implants existed now? Not in the future? And you could buy them at the store and set an appointment with the surgeon to "Install them in your brain"? What would happen? Would we start rejecting those who don't have them? Would we say to the un-brain-chip people that they are lame? Will we loose our ability to speak and run everything with our minds? and what sort of interactions might come of that? I turn on the lights, you turn them back off. I raise the volume of my TV and you turn it down. All of this with a thought. I would be furious at you for doing that! Would I look at you with disdain in reaction to your behaviors, or would I just send a virtual punch to your face with a brain-chip command?

What would happen to our brains? our bodies? 

In a class we had, one of my colleges started talking about a middle finger callus she had when she used to write a lot. Since the arrival of keyboards the callus disappeared. You would think she was happy about the absence of a protuberance in her finger, but she was nostalgic. Because her hands, where already not doing their purpose, her finger's are becoming obsolete. So, if we were to have implants in our brain, will the rest of our body parts suffer for it? I will no longer push the button but think about about doing it so. What if I could just turn on my car, give it directions and just get in, without uttering a word. What will happen then?

Thinks change people, and visionary things like Brain Implants could possible shift our paradigms and reshape the world as we know it. As designers we are responsible for studying these effects and the new communications that will come out of these new worlds in order to improve our relationships, to make our communications better, to deliver the message or at least to understand what the hell is going on!

So, Brain Implant could happen, as could many other things that we haven't even thought about. The key element here, is to think like a designer and question our behavior before these technologies come, so we can be prepared.

My proposal here is to think of future articles as present articles and analyze, as a designer would do, what would your world be if thinks like Brain implants existed NOW.

what is going to happen to brands and branding? is it all over? Does globalization mean that variety and individuality will be crushed out of existence by massive multinational corporations who will dominate world markets with their immense promotional power? Does it mean that, wherever we live, we will all end up buying and using versions of the same stuff? will everywhere in the world become increasingly similar, like airports today?

If,on the other brand, globalization is taking over and the world is becoming increasingly homogenous, how is it that nation, region, city branding have become so important? Why is every place shouting so loudly that it is the most attractive spot in the world to invest in and to visit, and that the brands it produces are the world’s most desirable? if everything and everywhere is becoming increasingly similar, will there still be room for places that trade on being different?

or is something completely different happening ? does the rise of digital technology means that corporations will increasingly be on the defensive because customers will not only answer back but will ask a few questions and make a few demands on their own initiative? does digital mean that everyone who feels like it will be able to make their own brand and market it-like self publishing? and, if it does,where does that leave the multinational corporation?

what do we customers want anyway ? do we want it cheap? do we want it authentic? do we want it, whatever it is,to come from ‘somewhere’ -place branding again? do we want it all at the same time?or do we just keep changing our minds on alternate Thursdays?

what about sustainability, going green, global warming, the environment, and so on? how do they affect the way we think about the products and services we consume? and how do they influence the way we feel about the organizations that make and sell those products and services? do we really believe that oil companies want to save the world? is corporate social responsibility as significant as everybody now says, or is it just a shibboleth or even a passing fad? and how can companies reconcile maximizing profitability with CSR?

put another way, what is the corporation there for? to make profit and grow, or to help society, or both? and how can the corporation demonstrate that it cares-if it cares? and what if it operates through a multiplicity or brands? does this means that the corporation has so stand up and be counted; that it has to be seen to be the face behind all its brands? what about charities and NGOs?are they going to become more professional and brand themselves?

then there is the changing shape of world power; the relative decline of the west in the face of the growing political already emerged markets? will these countries start producing and promoting global brands based around their own cultural strengths and heritage? and , if they do, what will this mean for the traditional global dominance of brands based around western cultural norms? will they die, or will there just be more competition?

and then, assuming for the moment that brands don’t die and that there will always be plenty of them around, who’s going to build and sustain them? and what will happen to the brand consultancy business? will it increasingly rely on metrics, quantification and ‘scientific’ research? what about flair and intuition in the creation sustainability or brands? will this disappear and be replaced by bland work created entirely out of ‘rigorous’ analysis? put another way, will there be yet another face-off between rational and emotional; rigor and intuition; head and heart?

all these, and a few other issues, too.face the branding activity over the next decades, I am writing about it all now, because I won’t be here to see it and listen to people telling me how I wrong I was.

wally loins, Groing -on -thames, 2013

It's no secret that U.S. workers are in trouble, with the unemployment rate at 8.9% and rising. At the same time, the world faces a long-term climate crisis.

Some persons believe that taking care of our environment is important, a much bigger number unfortunately see other fields as a priority instead of this one, as example politics, economics and so one. Finding ways to prioritise this subject, by showing other positive points of view that come with it, as increasing of job employment, is a good technique to raise interests in the subject. However if you see the bigger picture, it seems a bit strange that you need more excuses to take care of the environment than the main topic by itself. There are plenty of proven results of our negative impact, but also how it can be minimise by a behaviour change and other small actions, and even more by focusing on it in a wider and more serious way.

A number of environmentalists and economists believe that by implementing a comprehensive energy program, we can not only avert the worst consequences of climate change but also create millions of new jobs — green jobs

While reading this article, not only with critical eyes but also with a lot of interest, I have to admit that I'm not the most green person in this world, however I would like to become better. Just the simple fact of the brain change that allows you to admit that this is also your problem is a huge step. The second part is actually take part in the change. I found interesting how the unemployment rates can be more positive by also working in something equally positive. The world is changing and we need to adapt to what it needs to be done right now, where the changes must appear and our impact should be reflected on. Both thematics, lack of jobs and climate crisis, affect not only the U.S. but unfortunately all the world, so the measures to improve it in the U.S. can also be applied to other countries. What made me choose this article was thinking on design in the middle of every point of it. The first one is the job unemployment. Being a designer, specially in a freelancer way, is scary. If you are not aware of all the new technological advances you can easily be destroyed by a much more informed and skilled competitor. Creativity is important, but now a designer faces much more barriers and difficulties and needs increasing skills and interests. The second point I found interesting is the role of the designer in this green era.

What's a green job? It depends on whom you ask.

The green job can and should also be applied to designers, and maybe can be a good excuse to take part in the future of the world, as change makers we wish to be. Furthermore it can allow the designer to show how problem solving skills and creativity can have a positive impact, and even, how the collaboration of design with others fields, like science, technology and engineering is beneficial.

But with climate change a real threat, shifting jobs from industries that harm the earth to ones that sustain it will become an economic imperative.

In order to find a meaningful and successful job I believe it's important that the relation with the current situation of the world, with the persons that surround you and the things they need is not forgotten. The next step is your choice of interaction with it, and as designers I believe we have a lot of space to create something new, useful and significant.

http://content.time.com/time/specials/packages/article/0,28804,1898024_1898023_1898079,00.html

Even before I decided to pursue a design course of study, something changed in me. I noticed I had a keen critical sensibility. I didn't settle for digesting passively all the information served up to me, but I searched for its meaning. I was driven by a strong curiosity that led me to ask questions and to wonder the reasons of things. Looking around I noticed that everything was permeated by design: even the most insignificant artifacts held its trace. Indeed we live in a highly artificial world, where almost every corner is product of a (well) thought decision. Very often we don’t even realize it, as one of the main prerogative of design is: “the better the design, the more invisible it becomes”. The same rule could apply for instance in the typographic field, in which, in accordance to the with the theory of the Crystal Goblet by Beatrice Warde, the reader should not notice the typeface in use. On the other hand it is possible to object to this theory, stating “you read best what you read most” (Zuzana Licko). I chose the article “Solar roads, charging roads, and the future of transportation” by Glen Hiemstra for FastCompany because I think it deals with a similar issue, applied to the future of roads and transportation. Building tracks and means of transportation is such an ancient design practice rooted in human history: Romans mastered the technique of making roads to connect every corner of their Empire, insomuch as the statement “all roads lead to Rome” is of general use. Everyday we use roads for example from home to school/work, as well as from a country to another. But I bet nobody really question what signifies and implies this action: roads are just there, as it always has been, almost unchanged. At this point come into play the article, showing us how reconsidering under a new design perspective common reality could make the world we live in a better place. Looking towards the future, I perceive that sustainability is the key objective to aim for. The use of new innovative technologies could redeemer us from the mistakes of the past.

While writing this short text I saw myself surrounded by designers, artists, web developers, programmers and all the people from the fields that are doing the "cool shit" nowadays. Nothing better to make you think which place you want to occupy in the future. Who you want to be? While watching the conferences I try to find similarities with this successful persons and kind of create my new Me with little pieces of all of them.

There were 3 talks that inspired me the most. The first one was by Gavin Strange, a graphic designer with a job during the day and a fearless will to continue to work during the night. He thinks that we have so many hours in the day to be creative, why not use them all? Well, I'm kind of the opposite. It's so difficult to occupy my all day with creativity and I keep asking myself why? So in the future I want to find the perfect balance, or maybe the perfect mix between what I feel that is boring during my day and the moments I can be creative. The second thing this person taught me was to be a positive designer. I felt bad when he said that we should ignore all the sad things in the news, and just try to think something positive. After some minutes of thinking about this sentence I think I understood what it really mean. The point is that we need to focus in things that we can actually change, so if you are not going to try to solve any environmental issue of the world, you can also not let it drag you down, but if you actually are interested in that, it can not drag you down either. I mean, your job is to create positive change, not suffer with the existing problems, because that is what the rest of the world is doing and doesn't create any positive change, is just food for media. So, in conclusion, I want to be a positive designer, I never though this could be so important, but more than create things with a positive impact, being positive yourself also change the approach towards the subjects. The world is already a very negative place, as a designer I want to bring something different from the current scenario.

The second talk I would like to mention was from Naomi Atkinson: "Understanding your core". In her point of view we have to discover the way we behave, the things we always were passionate about and understand our core through that. What is capable to make us unique in this field and more happy with what we do. My mother is a social worker, and since we were young we were taught to be interested in the problems of the others, in what surround us and usually look for the things that no one cares about. I never thought this could be so important in my life as I discover it is in the past months. I have been helping her in the cooperative she created and in the projects they do. After some time I decided to take one year to do European Voluntary Service in the Netherlands, and one year after, here I am taking my Master. In this process was always difficult for me being a full time designer and part time interested in the social field, I believed I had to let one of them go in order to focus more in what I needed to do. During the first months of my Master I believe I came across the understanding of my core. "Social Design" seems to be the perfect answer to my doubts, challenging and where I believe the future will be heading on. The social inequality is arriving to a such unbalance that will crash soon. While there is still persons living without water, the new kids carry the last version of the Iphone or Ipad or any other "I" technology. I truly feel comfortable to say that in the future we will be in need to look and care for the place we live in, and the persons that surround us in a more serious way, otherwise the impact will affect of all of us in a negative way.

The third talk was from Jessica Walsh. Just the fact that she is so young and so successful is already an inspiration to me, but I was impressed also for the way she always do the stuff in her own way and create her rules to shine. You can hate her work or love it, but as she said in her talk, "if no one will hate your work, no one will really love it either". So, I want to be more happy with the things I do, sure of it and confident. That is my inspiration from her talk.

Finally while I was counting the words of the text, there was a "keyword density" charter that summarise my future interests. I will share the photo here :)