Edona's Critical Design Blog

What ━ The hidden coordinates are concealed within the fabric of a dress. They act as a map to an underground eco-utopia that can be reached by teleportation. By allowing access to this utopia, a place where environmental peace is attained, they have the power to end social injustices.

Who ━ The inhabitants of the utopia, those who have chosen to live in peace with the environment, are the intended inhabitants of the secret coordinates. Nevertheless, Cate, the owner of the dress becomes the unintended user. The people of the utopia would most likely create the coordinates and they would be the ones to fight against their misuse. People who want to live more sustainably will be favorably affected, while those who benefit from real-world environmental damage may be adversely affected.

Why ━ The hidden coordinates serve as both a protection against misuse and a covert route to the utopia. In order to prevent them from being quickly found, they are covertly tucked under a garment, providing the utopia with an additional measure of security.

Where ━ Only one exact location is indicated by the secret coordinates within the fabric of Cate's clothing. The most crucial element is that they are concealed, however this location could be anywhere. Additionally, these coordinates take you to the only utopian location in the entire planet.

When ━ When the dress owner wants to enter the eco-utopia, they use those coordinates. If the utopia decides to move for security reasons, it might become ineffective.

This moodboard encapsulates the aesthetic essence of the story object capturing key elements such as color, texture and more.

The coordinates, which are sewn into a dress' fabric, serve as the story's main object. I illustrated it with a macro shot of fabric. The blue tint of the fabric alludes to the mystique and intrigue surrounding the coordinates.

Since teleportation is being done by the hidden coordinates, I have also included an abstract visualization of a time machine representing teleportation. While maintaining a strong presence of the futuristic theme, giving room for the viewer's imagination. Since the coordinates will send Cate to exact coordinates of the eco-utopian place, a picture showing some random coordinates provided in degrees, represents the coordinates themselves. Some blue and green land is used as a representation of the hidden utopia, which is an important part that Cate discovers.

It was very interesting and challenging as we stepped into the creative part of our stories, attempting to conceptualize our very own episodes. The first step of getting materials was fascinating since it prompted us to choose items that best represented the core of our story. For my episode, I selected three: a woman named Cate wearing a dress; a clock signifying a time machine; and a green carpet signifying an eco-utopian paradise. I think when narrated, each item gave the story shape and structure.

Following that, we had to create our centered object by a material that had already been defined by someone else. I was given a Bike Tire as the main material, which made the object bigger. This activity made me think of examples of narrative in the real world, where authors (Or anyone else) frequently need to incorporate outside influences into their creative processes.

Lastly, listening to the auditory media and being able to translate sounds into visual interpretations was really interesting, and for me it was the first time doing so. I was listening to "Show Me How" by Men I Trust. A thought started to form as the music (tranquil and melancholic) flooded over me. I started drawing shapes like lines and waves, letting my hand naturally follow the song's rhythm. At the end, we were able to see other students' sketches, and I realized how every person's interpretation of the music could differ depending what music and sounds they heard.

The reason for choosing this topic for the episode is the engaging blend of eco-feminist design, futuristic technology, and utopian ideals. This story beautifully illustrates the conflict between modern technology and ecological living, a topic that is very relevant to our culture today. I attempted to emphasize the potential for harmonious coexistence with nature.

The unraveled Coordinates

Potential objects that could fit into the narrative:

During our last lecture in the Critical Design course, we had to conceptualize a techno-system, a potential innovation that could feasibly be designed and implemented in the future. In response to this, our group came up with two ideas. The first concept is more utopian, embracing a broader, less technology-focused approach. On the other hand, the second one is more technical. Extrapolatio ad Absurdum Besides the 'real' implementation, we also had to think to make this idea absurd or in a way to hyperbolically project it.

Rapid Prototyping a Dystopian Future Finally, we modified the interactions of objects and actors (Fictional characters) within our scenarios, ensuring that their end was characterized by unforeseen complications, if not outright disaster.

On April 18, I had the incredible opportunity to visit Welt Museum for the first time together with the Critical Design class in Vienna. I had the chance to view exhibitions that provoke thought and allow us to travel through time and imagination. I'm excited to share with you the captivating world of Science Fiction(s): If there were a tomorrow and other exhibitions through the pictures I made on this journey. —Science Fiction(s): If there were a tomorrow A stunning collection of costumes, artwork, and props from popular books, TV series, and movies, including Star Wars, were on display at this exhibition. These stories frequently push the boundaries of what we think is possible and motivate scientists and engineers to make the fantastical world a reality through their cutting-edge technologies and ideas. 1. Stolen Future

2. Indigenous Culture: A documentary about Aboriginal people In this brief documentary, it was shown how Indigenous people (ethnic groups who are the original or earliest known inhabitants of a particular region) have consistently struggled for their rights, claims to land, cultural preservation, and self-determination.

3. Into space

4. Sleeping Languages Another section that I found interesting was The Sleeping Languages section, which aims to encourage you to think about what it would mean for you and your life if only a few people spoke your language. I added a note in my native language.

5. Extinctions!? An exhibition as part of the project TAKING CARE Another exhibition that I found intriguing is Extinctions. This exhibition addressed the pressing problem of species extinction and the effects of human activity on the environment. We were made aware of the effects that habitat loss, pollution, and climate change have on the biodiversity of our globe through interactive displays and multimedia presentations.

The Indian vulture (above) is an example of species extinction in the animal world. These vultures die because they eat cow carcasses that contain antibiotics.

6. Balete Gown In this artwork, which I found visually pleasing, multi-disciplinary artist Leeroy New used various techniques from different industries to create fantasy worlds - interactive spaces that his "creatures" can inhabit.

7. TECUITLATL - a hybrid algae installation This installation aimed to put microalgae as central figures to tell us a story how we created the Anthropocene

8. Non-humans

Non-humans, as far as I can recall, was more concerned with the world around us than with the priority that should be accorded to each 'living thing' in nature. You could listen to the audio sounds of nature with headphones, including bird sounds, but not human speech.

9. Exit As I was leaving the museum, this creature took my attention. A crab-like creature hangs in the Hall of Columns, watching the humans below like a curious alien.

My experience at Welt Museum will always be one of inspiration and reflection. These artworks encouraged me to think profoundly about our world and made me experience a vision of the world that is far removed from what we typically see and can imagine.

The 'Living Pyramid' installation by ecofeminist artist Agnes Denes in the garden of Sakıp Sabancı Museum emphasizes the cycle of life and death by presenting Istanbul's urban fauna via 2,000 native plants and flowers

Denes continually expands ideas, forms and processes with an inexhaustible curiosity and brings environmental issues to the surface with her farseeing vision of the future of humanity. The vision she unveils boldly evaluates reality; yet at the same time, she continues to look to the future with hope.

"In line with the artist's desire, her 'Manifesto' placed on marble, specially produced for this exhibition, will now take its place in our collection as a permanent part of the garden.

Whang-od's "signature" tattoo consists of three dots, representing herself and her blood-related apprentices and representing a next generation in her art.

Apo Whang-Od, the sprightly centenarian also known as Maria Oggay, has been hand-tapping tattoos on skin since she was a teenager. It was only within the last 15 years or so that her clientele—and her renown–exploded beyond the Cordillera region, with thousands of visitors coming from all over the world, all seeking the exquisite pain of the soot-stained thorn.  

“I didn’t plan to do this when I grew up,” she explains. “When I was little, girls only had the option of becoming housewives. But my uncle and father were the tribe’s tattoo artists, and when they became too old, they asked me to take over so that we could still afford to buy rice.”

Menstrual cup that is designed to be an eco-friendly and reusable alternative to traditional feminine hygiene products such as tampons and pads. Recent years have seen the rise of sustainable travelling. With the use of reusable bottles, canvas bags, metal cutlery and more, several globetrotters are taking the green route. This trend has translated to several industries, encouraging women travelers to consider eco-friendly options even during their menstruation. But this can bring its own sets of challenges and opportunities, as writer Shikha Tripathi found.

This article highlights the importance of incorporating Indigenous knowledge and practices into modern design and planning. It emphasizes that Indigenous people have a deep connection to the land and have been practicing sustainable living for centuries, making them important partners in shaping our built environment.

Examples of successful Indigenous-led design and planning initiatives from around the world: The community-led planning process for the Tla-o-qui-aht First Nation in British Columbia, The Maori-led revitalization of the Te Hono ki Hawaiki marae in New Zealand, and the Inuit-led design of the Iqaluit Municipal Cemetery in Nunavut, Canada.

The author argues that Indigenous design and planning must go beyond just adding decorative elements and instead involve a fundamental rethinking of the relationship between people, land, and resources.

The People are Beautiful Already: Indigenous Design and Planning | Cooper Hewitt, Smithsonian Design Museum Three interrelated sets of activities in Indigenous design:

The first is education. Workshops explain key concepts, engaging stakeholders in a shared discussion about the context behind demographic and land-use change. The conversations clarify and build consensus around enduring cultural values that are necessary to guide the growth and evolution of the community.

The second activity is community engagement. We work with local leadership to identify key individuals who can meaningfully contribute to conversations about place. This entails understanding cultural protocols, local history, identifying and using existing social networks, and nurturing a working relationship among program and community liaisons to organize community meetings. Community-engaged methods, such as participatory asset mapping, are deployed to gather information and expand the conversation across the generational spectrum.

Summary reports are developed and findings are disseminated to the community for further discussion and refinement. Oftentimes, this requires conducting dozens of meetings over the course of the project in order to facilitate a reflective dialogue and build consensus.

Ethnic geometric patterns tribal traditional indigenous. Design for background, carpet, wallpaper, clothes, wrap, batik, embroidery style vector illustration.

The story of the Chipko movement in 1973 follows how a contractor was given the right from the state to fell trees for a sports manufacturing company. The area, already denuded, was subjected to landslides and floods due to rapid deforestation from commercial logging. Women also had to trek further for fuel, fodder, and water.